The music for cello duets was first composed in the Baroque period, later it was named the cello choir. Thus, these beginnings of cello choir compositions were primarily relegated to Baroque, with only a few pieces composed until the Romantic period. It was at this point in history that we find that musicians and composers began to develop interest in the unique sound of the cello choir. Since then, a great amount of operas and other musicals have been composed with the featuring of cello choir as a part their soundtrack. As a result, the music of the cello choir has moved forward to a new colorful era, with the nuances of the music branching into various types of associations with various professional playing techniques. Heitor Villa-Lobos is one of the most famous 20th century composers of the Brazil. During his maturation period, his works integrated the Brazilian style as a central theme of his music. The Bachianas Brasileiras, composed in the 1930¡¦s, had great profitable combination of the new-age national music with more traditional forms. In addition, this new trend of music successfully represented both educational and patriotic movements, as it required the uniqueness associated with the profound techniques that established the importance of cello choir in the piece. This study is proposed to discover the valuable information in playing the cello choir music based on analyzing the Bachianas Brasileiras No. 1. The study begins by describing the composer¡¦s life experiences and the background of the period in the 1930¡¦s. The research will emphasize how the Brazilian music has been amalgamated and how to interpret it in order to enhance performance.

A proposta desta dissertação é analisar os três movimentos das Bachianas Brasileiras Nº 1: Introdução (Embolada), Prelúdio (Modinha) e Fuga (Conversa), de Heitor Villa-Lobos, a partir de uma abordagem transformacional, seguindo a linha proposta por Steven Rings (2011) na qual, ferramentas de análise neorriemannianas são utilizadas para iluminar aspectos familiares do tonalismo. Partindo desta abordagem, os resultados da análise musical serão apresentados através de gráficos e redes transformacionais, objetivando criar um suporte analítico musical que, numa fase posterior a esta pesquisa, aponte para uma reflexão sobre a ideia de Nestor Garcia Canclini a respeito de processos de hibridação cultural (CANCLINI, 2008). / The proposal of this dissertation is to analyze the three movements of the Bachianas Brasileiras Nº 1: Introduction (Embolada), Prelude (Modinha) and Fugue (Conversa), by Heitor Villa-Lobos, based on a transformational approach, following the thinking proposed by Steven Rings (2011) in which, Neo-Riemannian analysis tools are used to illuminate familiar aspects of tonalism. Based on this approach, the results of musical analysis will be presented through graphs and transformational networks, aiming to create an analytical musical support that, at a later stage of this research, points to a reflection on the idea of Nestor Garcia Canclini regarding processes of cultural hybridization (CANCLINI, 2008).

A proposta desta dissertação é analisar os três movimentos das Bachianas Brasileiras Nº 1: Introdução (Embolada), Prelúdio (Modinha) e Fuga (Conversa), de Heitor Villa-Lobos, a partir de uma abordagem transformacional, seguindo a linha proposta por Steven Rings (2011) na qual, ferramentas de análise neorriemannianas são utilizadas para iluminar aspectos familiares do tonalismo. Partindo desta abordagem, os resultados da análise musical serão apresentados através de gráficos e redes transformacionais, objetivando criar um suporte analítico musical que, numa fase posterior a esta pesquisa, aponte para uma reflexão sobre a ideia de Nestor Garcia Canclini a respeito de processos de hibridação cultural (CANCLINI, 2008). / The proposal of this dissertation is to analyze the three movements of the Bachianas Brasileiras Nº 1: Introduction (Embolada), Prelude (Modinha) and Fugue (Conversa), by Heitor Villa-Lobos, based on a transformational approach, following the thinking proposed by Steven Rings (2011) in which, Neo-Riemannian analysis tools are used to illuminate familiar aspects of tonalism. Based on this approach, the results of musical analysis will be presented through graphs and transformational networks, aiming to create an analytical musical support that, at a later stage of this research, points to a reflection on the idea of Nestor Garcia Canclini regarding processes of cultural hybridization (CANCLINI, 2008).

Orientador: Paulo José de Siqueira Tiné / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T18:29:12Z (GMT). No. of bitstreams: 1 Shibata_Daisuke_M.pdf: 28496230 bytes, checksum: 4cd4a936d4051b23d2ad74db5c4d0431 (MD5) Previous issue date: 2014 / Resumo: Esta dissertação se debruça sobre a peça orquestral Bachianas Brasileiras n??2 de Heitor Villa-Lobos, uma das suas principais obras e mais frequentemente executada em concertos. Pretende-se, a partir do Método Saito de regência orquestral, apresentar propostas de interpretação na sua execução através da exposição sistemática tendo como base um cotejamento do manuscrito, versão editada e do áudio da interpretação do próprio compositor para, juntamente com a experiência prática do autor, chegar às soluções mencionadas. Além do Método Saito e da análise da Bachianas Brasileiras n? 2, esta dissertação apresenta um breve relato histórico do período de 1930 a 1945, auxiliando os leitores a compreender o contexto histórico e ideológico de Villa-Lobos / Abstract: This dissertation focuses on the orchestral piece Bachianas Brasileiras No. 2 by Heitor Villa-Lobos, one of his major works and more often performed in concerts. It intendes, based on the Saito Method for orchestral conducting, to present proposals for interpretation in its performance through a systematic exposure based on a readback of the manuscript, the edited version and the composer¿s own recording, along with the practical experience of the author, arrive at the mentioned solutions. Besides the Saito Method and the analysis of Bachianas Brasileiras No. 2, this dissertation presents a brief historical description of the period between 1930 and 1945, assisting the readers to understand the historical and ideological context of Villa-Lobos / Mestrado / Praticas Interpretativas / Mestre em Música

Submitted by Regina Celia Rocha Felice null (refelice3@yahoo.com.br) on 2016-07-15T18:44:35Z No. of bitstreams: 1 REFERENCIAIS NEOCLÁSSICOS E ORIGINALIDADE NAS BACHIANAS BRASILEIRAS Nº 4 DE HEITOR VILLA-LOBOS.pdf: 10304159 bytes, checksum: cddcdcf5e4c1460ba7534b716d806c31 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-07-18T13:20:57Z (GMT) No. of bitstreams: 1 felice_rcr_me_mar.pdf: 10304159 bytes, checksum: cddcdcf5e4c1460ba7534b716d806c31 (MD5) / Made available in DSpace on 2016-07-18T13:20:57Z (GMT). No. of bitstreams: 1 felice_rcr_me_mar.pdf: 10304159 bytes, checksum: cddcdcf5e4c1460ba7534b716d806c31 (MD5) Previous issue date: 2016-06-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta pesquisa investigou as ferramentas composicionais utilizadas por Villa-Lobos ao compor as Bachianas Brasileiras no 4, e como ele se apropriou do neoclassicismo musical sem perder sua originalidade artística, integrando elementos da música brasileira com a poética musical de J. S. Bach. Pelo fato da obra aqui investigada ser construída sobre uma sintaxe musical de distintos períodos da História da Música, foi necessário recorrermos a diferentes teóricos musicais. Foram eles: Berry (1987), Lester (1989), Neumeyer & Tepping (1992), Caplin (1998) e Strauss (2013). Para abordar o possível uso de figuras retóricas, como aquelas utilizadas por J. S. Bach, consultou-se Bartel (1997). O estudo constatou que, apesar de Villa-Lobos não ter tido uma educação musical formal no Brasil, nem ter ido à Europa para estudar, como foi o caso de Carlos Gomes, Nepomuceno, entre outros, ele tinha plena consciência das ferramentas composicionais europeias, tanto da tradição como da vanguarda. / This research investigates compositional elements used by Villa-Lobos at Bachianas Brasileiras no 4 and how the elements of Brazilian music and those used by JS Bach are integrated. The organizational elements in its structure and its compositional unfolding are observed. Because Villa-Lobos uses a diffuse musical language, it is impossible to approach his grammar with one analytical tool only. For this reason, we make use of different theoretical tools to analyze the Bachianas Brasileiras no 4 for piano solo. Theoretical and analytical authors, such as Berry (1987), Lester (1989), Neumeyer & Tepping (1992) e Strauss (2013) are referred here. To address the possible use of rhetorical figures, such as those used by JS Bach, we consulted Bartel (1997). This study observes that, despite of Villa-Lobos’ and creative spirit, his mystic image as an intuitive composer, folklorist and wild, he was fully aware of the European compositional avant-garde techniques, and dialogued with those compositional currents.

This study offers a reconsideration of the music of Villa-Lobos and its relationship to diverse musical expressions and musical syntheses in Brazil. Its primary purpose is to present a line of interpretative thought for Heitor Villa-Lobos’s piano compositions, emphasizing significant elements reflective of the folk and popular culture of Brazil that the composer integrates with stylistic features influenced by European art music traditions. It highlights Villa-Lobos’s adaptation of characteristic Brazilian dances, dance rhythms, melodies, direct quotations, and fragments of folk and popular tunes in Choros no. 5 (Alma Brasileira) and Bachianas Brasileiras no. 4 (Brazilian Bachianas no. 4). In the latter work, this study also considers the composer’s blend of Brazilian-based material with elements inspired by the work of Johann Sebastian Bach. In addition to stylistic analyses, an examination of the composer’s influences, intentions, and methods is fundamental to this study. This exploration offers insights into Villa-Lobos’s piano music and clarifies possible misinterpretations generated by lack of information about the composer’s musical contexts and his desires to represent Brazilian culture in his music. This discussion is intended to provide a basis for performing or interpretive solutions to the musical (including rhythmic and technical) complexities created by the use of folk and popular ideas in this repertoire. Divided into five chapters, this document begins with a brief overview of Villa-Lobos’s life and overall works in the second chapter. The third chapter contains a brief overview of the entire set of Choros with a focused examination of Choros no. 5. The fourth chapter discusses Villa-Lobos’s mixture of neoclassical and Brazilian elements within the set Bachianas Brasileiras, specifically no. 4, for piano. Descriptions and interpretations of the selected works are offered in the third and fourth chapters. The fifth chapter presents the conclusion of this research.

abstract: The repertoire for guitar and piano duo is small in comparison with other chamber music instrumentation; therefore, it is important to broaden this repertoire. In addition to creating original compositions, arrangements of existing works contribute to this expansion. This project focuses on an arrangement of Bachianas Brasileiras No. 1 by Brazilian composer Heitor Villa-Lobos (1887-1959), a work originally conceived for cello ensemble with a minimum of eight cellos. In order to contextualize the proposed arrangement, this study contains a brief historical listing of the repertoire for guitar and piano duo and of the guitar works by Villa-Lobos. Also, it includes a description of the Bachianas Brasileiras series and a discussion of the arranging methodology that shows how the original musical ideas of the composer were adapted using techniques that are idiomatic to the guitar and piano. The full arrangement is included in Appendix A. / Dissertation/Thesis / Doctoral Dissertation Music 2016

Made available in DSpace on 2016-04-26T18:16:10Z (GMT). No. of bitstreams: 1 Luciana D Oliveira.pdf: 779957 bytes, checksum: fc1d78b77da5241ce79c0879ebaecc53 (MD5) Previous issue date: 2007-05-14 / The key questions that triggered this research were: does music communicate anything? what does it communicate? is that communication metaphorical? The communication theme in music, which is a non-verbal language and, perhaps, the most intransitive of the arts through its evident independence in relation to the factic world and intense vagueness of its object, will be approached in this dissertation having Peirce s Semiotics as a tool, not only for epistemological support, but, also, to represent the theoretical kernel of the phenomenon of communication. In the first chapter we will present a synthesis of the evolution of musical language, seen through the history of music and through Semiotics, highlighting the application of this science to music. In the second chapter, with the help of José Luiz Martinez, Ivo Assad Ibri and Lucia Santaella, we will delve into Peirce s Semiotics with the aim of placing it in the context of Peirce s larger theoretical edifice, proceeding to its subsequent application to the object of research, encompassing the identification of the kinds of signs, objects and interpretants in the music millieu. In the third chapter, with the aid of theoretical tools honed by Ivo Ibri and Carl Hausman, emphasis will be given to the question of the object of music and its iconic, polissemic and metaphorical character, under a more philosophical viewpoint, with the intention of understanding, through Peirce s categorical symmetry, how the dynamical object originates in the mind of the listener through the use of metaphors. These, being third of firstness signs, supply meaning to music, besides being fundamental to close the semiotic triad sign-object-interpretant. In the last chapter, Peirce s Semiotics will consubstantiate a semiotic analysis of Heitor Villa-Lobos Bachianas Brasileiras # 4 , whose choice derived from the fact that this music piece is a metaphorical sign both in Bach s opus and in Brazilian music, something that makes the understanding of the metaphor a lot easier, that is, in the light of the theoretical system previously exposed, as being a relation of meanings that merge in the mind of the interpretant, thus producing something new. All this research work and the subsequent application of the theories makes one realize how much music communicates through the action of signs and the creation of metaphors / A proposta inicial para esta pesquisa partiu das seguintes questões: A música comunica algo? O que ela comunica? Essa comunicação é metafórica? O tema da comunicação na música, que é linguagem não-verbal e, talvez, a mais intransitiva das artes por sua evidente independência em relação ao mundo fático e intensa vagueza de seu objeto, será abordado nesta dissertação tendo como instrumento de análise a Semiótica de Charles Sanders Peirce, não apenas por constituir sustentação epistemológica, mas, também, por representar o cerne teórico do fenômeno da comunicação. No primeiro capítulo desse trabalho buscamos apresentar uma síntese da evolução da linguagem musical, vista pela história da música e pela Semiótica, destacando-se a aplicação desta ciência à música. No segundo capítulo, com o auxílio de autores como José Luiz Martinez, Ivo Assad Ibri e Lucia Santaella, aprofundamos o a Semiótica peirciana, com o intuito de situá-la no contexto do arcabouço teórico de Peirce, procedendo à sua subseqüente aplicação ao objeto de pesquisa, abrangendo identificação dos tipos de signos, objetos e interpretantes no âmbito da música. No terceiro capítulo, adotando como instrumental teórico os autores Ivo Assad Ibri e Carl Hausman, se deu ênfase à questão do objeto da música e seu caráter icônico, polissêmico e metafórico, sob um ângulo mais filosófico, com a intenção de compreender, por meio da simetria categorial de Peirce, como se cria o objeto dinâmico na mente do ouvinte mediante a utilização das metáforas. As metáforas, que são signos de terceira primeiridade, proporcionam significados para a música, além de serem fundamentais para o fechamento da tríade semiótica signo-objeto-interpretante. No último capítulo, a Semiótica de Peirce consubstanciou uma análise semiótica das Bachianas Brasileiras nº 4 , de Heitor Villa-Lobos, cuja escolha decorreu de ser essa peça musical um signo metafórico da obra de Bach e da música brasileira, o que facilitou, e muito, a compreensão da metáfora, à luz do sistema teórico previamente exposto, como sendo uma relação de significados que se fundem na mente interpretante, criando-se algo novo. Todo esse trabalho de pesquisa e aplicação das teorias fez perceber o quanto a música comunica, por meio da ação dos signos e da criação das metáforas