Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-07-11T18:12:28Z No. of bitstreams: 1 NataliaCristinaPinheiro_DISSERT.pdf: 3381819 bytes, checksum: 43c7407f2565abcde6fcc0741eb5ae18 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-07-19T20:19:20Z (GMT) No. of bitstreams: 1 NataliaCristinaPinheiro_DISSERT.pdf: 3381819 bytes, checksum: 43c7407f2565abcde6fcc0741eb5ae18 (MD5) / Made available in DSpace on 2016-07-19T20:19:20Z (GMT). No. of bitstreams: 1 NataliaCristinaPinheiro_DISSERT.pdf: 3381819 bytes, checksum: 43c7407f2565abcde6fcc0741eb5ae18 (MD5) Previous issue date: 2015-12-15 / Este trabalho consiste em identificar e classificar as t?cnicas estendidas no contrabaixo ac?stico. O principal objetivo dessa categoriza??o ? proporcionar ao contrabaixista uma melhor compreens?o e pr?tica dessas t?cnicas. Para isso, realizou-se uma revis?o bibliogr?fica, pois foi observado que, no meio acad?mico, este tema ? novo e seu entendimento para alguns m?sicos ainda ? complexo e nebuloso. No intuito de auxiliar nas dificuldades do contrabaixista, as t?cnicas estendidas foram divididas em duas partes, propondo abordagens diferentes. A primeira traz a experimenta??o e explora??o de t?cnicas convencionais e n?o convencionais de outros instrumentos no contrabaixo ac?stico. A segunda busca identificar e classificar as t?cnicas estendidas, demostrando trechos de composi??es do repert?rio solista do instrumento. Nelas, ainda s?o referenciados autores e suas contribui??es para a pr?tica instrumental dessas t?cnicas. Nas duas categorias de classifica??o, foram apresentados procedimentos a serem adotados pelo contrabaixista para a execu??o das referidas t?cnicas, assim como sugest?es para seu estudo. Dentre os resultados principais, verificou-se que, por meio da proposta de classifica??o destas t?cnicas, podem-se incorporar novos recursos ao universo t?cnico e timbr?stico deste instrumento. Por fim, constatou-se a cria??o de uma composi??o realizada por meio da intera??o entre compositor e int?rprete, contendo novas t?cnicas estendidas ou t?cnicas estendidas n?o encontradas no repert?rio contempor?neo solista do instrumento. / This work is to identify and classify extended techniques on acoustic bass. The main purpose of this classification is to provide the bass better understanding and practice these techniques. For this, we carried out a literature review, it was noted that, in academia, this topic is new and understanding for some musicians is still complex and nebulous. To assist in the difficulties of the bass player, the extended techniques were divided into two parts, proposing different approaches. The first part proposes the experimentation and exploration of conventional and unconventional techniques from other instruments on acoustic bass. The second seeks to identify and rank the extended techniques, showing excerpts from the solo instrument repertoire compositions. On each, there are still referenced authors and their contributions to the instrumental practice these techniques. In both categories of classification procedures were presented to be adopted by the bass player for the implementation of those techniques, as well as suggestions for their study. Among the main results, it was found that through the proposed classification of these techniques, one can incorporate new resources to technical universe and timbre of the instrument. Lastly, it was found a creation of a composition performed by interaction between composer and performer, containing new extended techniques or extended techniques not found in the instrument's contemporary soloist repertoire.