A presente tese enfoca os processos composicionais de Edmundo Villani-Côrtes na sua Sinfonia nº 1 para Orquestra de Sopros. O estudo investiga as fronteiras da brasilidade popular e erudita da escrita do compositor, assim como o tipo de ferramentas que ele utiliza para escrever para banda sinfônica através da análise da obra escolhida. Defendemos a ideia de que sua literatura musical para banda sinfônica é inovadora por ter um tratamento orquestral diferenciado para essa formação, numa escrita erudita com conteúdos temáticos vindos da música popular. Do estudo, concluímos que o compositor tem uma assinatura ímpar na sua linguagem musical e apresenta-se como um autor representante da autenticidade brasileira. / This present thesis focuses on the composing procedures of Edmundo Villani-Cortes in his Symphony nº1 for the Wind Orchestra. This study investigates the borders of the popular and erudite brazilianity of the composer´s writing, as well as the type of tools he uses to write for the Symphonic Band going through the analysis of a selected piece. We defend that the idea of his musical literature for the Symphonic Band is innovating by having a different orchestral treatment for its formation, in a scholar writing which includes thematic compounds coming from the pop music. By this study, we conclude that the composer has an unique signature in his musical language and he presents himself as a representative author of the Brazilian authenticity

A presente tese enfoca os processos composicionais de Edmundo Villani-Côrtes na sua Sinfonia nº 1 para Orquestra de Sopros. O estudo investiga as fronteiras da brasilidade popular e erudita da escrita do compositor, assim como o tipo de ferramentas que ele utiliza para escrever para banda sinfônica através da análise da obra escolhida. Defendemos a ideia de que sua literatura musical para banda sinfônica é inovadora por ter um tratamento orquestral diferenciado para essa formação, numa escrita erudita com conteúdos temáticos vindos da música popular. Do estudo, concluímos que o compositor tem uma assinatura ímpar na sua linguagem musical e apresenta-se como um autor representante da autenticidade brasileira. / This present thesis focuses on the composing procedures of Edmundo Villani-Cortes in his Symphony nº1 for the Wind Orchestra. This study investigates the borders of the popular and erudite brazilianity of the composer´s writing, as well as the type of tools he uses to write for the Symphonic Band going through the analysis of a selected piece. We defend that the idea of his musical literature for the Symphonic Band is innovating by having a different orchestral treatment for its formation, in a scholar writing which includes thematic compounds coming from the pop music. By this study, we conclude that the composer has an unique signature in his musical language and he presents himself as a representative author of the Brazilian authenticity

The purpose of this study is to present a performance guide for singers on twelve selected songs in Brazilian Portuguese for voice and piano by Brazilian composer, pianist, and arranger Edmundo Villani-Côrtes (b.1930). Since 1949, Villani-Côrtes has been active in the musical scene of Brazil. He has a unique compositional style that seamlessly combines elements of both art music and popular music. Villani-Côrtes’s body of works includes over two hundred compositions for solo instrumental music, orchestral music, choral music, and art song. He has written over sixty songs in Brazilian Portuguese, including the Ciclo Cecília Meireles (1987), winner of the 1988 Prize of the Associação Paulista de Críticos de Arte (A.P.C.A.), but most of these remain unpublished. This performance guide is the result of three years of research, study and personal communication between the author, Villani-Côrtes, and poets whose words the composer used as lyrics. It offers a comprehensive body of information relevant for both the performer and voice teacher who approach this new and untraditional repertoire. It includes a concise biography of the composer, biographical information for the poets, comments on the compositional style of Villani-Côrtes, an overview of the Brazilian Portuguese International Phonetic Alphabet (IPA)—with a chart of Brazilian Portuguese Sounds, IPA transcriptions with English word-by-word translations and poetic versions of all the lyrics, comments from the composer and the poets on each of the songs, and the technical information, pedagogical suggestions, and interpretative insights provided by the author.