No description available.

This study addresses the ways and means a conductor may approach two major twentieth century works written specifically for percussion ensemble. Performance techniques and decisions on aesthetics made by the conductor in dealing with such items as timbre, balance, pitch levels, and pitch relationships are also considered.

Alberto Ginastera (1916-1983) was one of the leading South American composers of the twentieth century. Born in Argentina at a time when his country was striving to achieve a national identity and culture, Ginastera was recognized for combining the techniques of Western European art music with elements of Argentine folk music. His piano sonatas, composed during both his early and late periods, serve as excellent examples of this cultural synthesis throughout the course of his career. The Sonata No. 1 for Piano Op. 22 (1954), Sonata No. 2 for Piano Op. 53 (1981), and Sonata No. 3 for Piano Op. 54 (1982) have been analyzed and discussed in recent scholarship. Theorists have identified Western techniques such as sonata-rondo form, serialism, and symmetry in his compositions. Yet, when addressing rhythm, scholars have focused primarily on highlighting the Argentine dance or Amerindian rhythm that the music exemplifies and have neglected to apply Western analytical tools for analyzing rhythm. The goal of this paper is to approach rhythm and meter in the piano sonatas from a new perspective in order to identify Ginastera’s Western European musical techniques. Attention will be given to Ginastera’s use of and denial of metric hierarchy and periodicity. The paper will also focus on consonant and dissonant rhythms in the piano sonatas, as well as additive and subtractive rhythms. Because any discussion of rhythm and meter in Ginastera’s music cannot ignore its nationalistic origins, the paper provides an introductory chapter that discusses Argentine dance iii rhythms. However, the bulk of the paper aims to provide analyses from a Western art music viewpoint that illustrate Ginastera’s compositional manipulation of rhythm and meter.

Thesis (D.M.A.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 84-90).

Este trabalho busca verificar a síntese estilística ocorrida no Scherzo da Sonata para violão, Op. 47 (1976), de Alberto Ginastera, através da comparação com scherzi ginasterianos precedentes: Vivacissimo, do Primeiro quarteto de cordas, Op. 20 (1948); Presto misterioso, da Sonata para piano No. 1, Op. 22 (1952); Presto magico, do Segundo quarteto de cordas, Op. 26 (1958); Scherzo fantastico, do Quinteto para piano, Op. 29 (1963); Fantastico, do Terceiro quarteto de cordas, Op. 40 (1973). Nessas obras é observada a recorrência de técnicas e materiais a partir de parâmetros harmônico/melódicos e rítmicos. Também são apresentadas, por motivo de contextualização, uma revisão bibliográfica da divisão estilística tradicional do opus ginasteriano e uma análise da estrutura normativa (forma) do Scherzo, Op. 47. / The purpose of this study is to discover the stylistic synthesis of the Scherzo of the Sonata for Guitar, Op. 47 (1976), by Alberto Ginastera through the comparison with Ginasterian scherzi written before this work, including: Vivacissimo, of the First String Quartet, Op. 20 (1948); Presto misterioso, of the Sonata for Piano No. 1, Op. 22 (1952); Presto magico, from the Second String Quartet, Op. 26 (1958); Scherzo fantastico, from the Quintet for Piano, Op. 29 (1963); Fantastico, of the Third String Quartet, Op. 40 (1973). The recurrence of materials and techniques within the harmonic/melodic and rhythmic parameters are observed. A bibliographic review of the traditional style of the Ginasterian opus is carried out, as well as an analysis of the structural form of the Scherzo, Op. 47. / Este trabajo busca la verificación de la presencia de una síntesis estilística en el Scherzo de la Sonata para guitarra, Op. 47 (1976), de Alberto Ginastera, por medio de la comparación con scherzi ginasterianos precedentes a esta obra, siendo ellos: Vivacissimo, del Primer cuarteto de cuerdas, Op. 20 (1948); Presto misterioso, de la Sonata para piano No. 1, Op. 22 (1952); Presto magico, del Segundo cuarteto de cuerdas, Op. 26 (1958); Scherzo fantastico, del Quinteto para piano, Op. 29 (1963); Fantastico, del Tercero cuarteto de cuerdas, Op. 40 (1973). En estas piezas se observarán la recurrencia de técnicas y materiales partiendo de parámetros harmónico/melódicos y rítmicos. Así como son presentadas, por una contextualización necesaria, una revisión de la bibliografía acerca de la división estilística tradicional del opus ginasteriano y un análisis de la estructura normativa del Scherzo, Op. 47.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-04-26T21:11:19Z No. of bitstreams: 1 MariaVeronicaFernandez_DISSERT.pdf: 2346087 bytes, checksum: 1c989b753abbebd26a9cfbdd8d9413f0 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-04-29T23:05:25Z (GMT) No. of bitstreams: 1 MariaVeronicaFernandez_DISSERT.pdf: 2346087 bytes, checksum: 1c989b753abbebd26a9cfbdd8d9413f0 (MD5) / Made available in DSpace on 2016-04-29T23:05:25Z (GMT). No. of bitstreams: 1 MariaVeronicaFernandez_DISSERT.pdf: 2346087 bytes, checksum: 1c989b753abbebd26a9cfbdd8d9413f0 (MD5) Previous issue date: 2015-06-12 / Esta pesquisa examina os elementos estil?sticos provenientes da m?sica folcl?rica da Regi?o da Puna, encontrados na Pune?a N?. 2, Op. 45 para Violoncelo Solo de Alberto Ginastera, com o objetivo de embasar violoncelistas interessados no seu estudo e na sua performance. Como procedimento metodol?gico, foram estudados autores como Aretz (2003, 2008), Aguilar (2007) e Fal? (2011), com o intuito de melhor compreender a m?sica folcl?rica da Regi?o da Puna e das culturas pr?-hisp?nicas, e Su?rez Urtubey (1967, 1972, 2003), que discorre sobre a vida e obra do compositor. A partir do levantamento bibliogr?fico, foram expostos ideias e conceitos que auxiliam o int?rprete a decodificar aspectos relevantes da obra. / This research sheds light on the stylistic elements originated from the region of Puna found in the Pune?a N?. 2, Op. 45 by Alberto Ginastera for Solo Cello in order to supply cellists with the background needed for the interpretation of the piece. As a methodological procedure authors such as Aretz (2003, 2008), Aguilar (2007) and Fal? (2011), Su?rez Urtubey (1967, 1972, 2003) were studied with the goal of better understanding the folk music of the Puna Region and the life and work of Ginastera. From the bibliographical research suggestions were drawn for the cellist interested in the performance and study of the work.

Este trabalho busca verificar a síntese estilística ocorrida no Scherzo da Sonata para violão, Op. 47 (1976), de Alberto Ginastera, através da comparação com scherzi ginasterianos precedentes: Vivacissimo, do Primeiro quarteto de cordas, Op. 20 (1948); Presto misterioso, da Sonata para piano No. 1, Op. 22 (1952); Presto magico, do Segundo quarteto de cordas, Op. 26 (1958); Scherzo fantastico, do Quinteto para piano, Op. 29 (1963); Fantastico, do Terceiro quarteto de cordas, Op. 40 (1973). Nessas obras é observada a recorrência de técnicas e materiais a partir de parâmetros harmônico/melódicos e rítmicos. Também são apresentadas, por motivo de contextualização, uma revisão bibliográfica da divisão estilística tradicional do opus ginasteriano e uma análise da estrutura normativa (forma) do Scherzo, Op. 47. / The purpose of this study is to discover the stylistic synthesis of the Scherzo of the Sonata for Guitar, Op. 47 (1976), by Alberto Ginastera through the comparison with Ginasterian scherzi written before this work, including: Vivacissimo, of the First String Quartet, Op. 20 (1948); Presto misterioso, of the Sonata for Piano No. 1, Op. 22 (1952); Presto magico, from the Second String Quartet, Op. 26 (1958); Scherzo fantastico, from the Quintet for Piano, Op. 29 (1963); Fantastico, of the Third String Quartet, Op. 40 (1973). The recurrence of materials and techniques within the harmonic/melodic and rhythmic parameters are observed. A bibliographic review of the traditional style of the Ginasterian opus is carried out, as well as an analysis of the structural form of the Scherzo, Op. 47. / Este trabajo busca la verificación de la presencia de una síntesis estilística en el Scherzo de la Sonata para guitarra, Op. 47 (1976), de Alberto Ginastera, por medio de la comparación con scherzi ginasterianos precedentes a esta obra, siendo ellos: Vivacissimo, del Primer cuarteto de cuerdas, Op. 20 (1948); Presto misterioso, de la Sonata para piano No. 1, Op. 22 (1952); Presto magico, del Segundo cuarteto de cuerdas, Op. 26 (1958); Scherzo fantastico, del Quinteto para piano, Op. 29 (1963); Fantastico, del Tercero cuarteto de cuerdas, Op. 40 (1973). En estas piezas se observarán la recurrencia de técnicas y materiales partiendo de parámetros harmónico/melódicos y rítmicos. Así como son presentadas, por una contextualización necesaria, una revisión de la bibliografía acerca de la división estilística tradicional del opus ginasteriano y un análisis de la estructura normativa del Scherzo, Op. 47.

Este trabalho busca verificar a síntese estilística ocorrida no Scherzo da Sonata para violão, Op. 47 (1976), de Alberto Ginastera, através da comparação com scherzi ginasterianos precedentes: Vivacissimo, do Primeiro quarteto de cordas, Op. 20 (1948); Presto misterioso, da Sonata para piano No. 1, Op. 22 (1952); Presto magico, do Segundo quarteto de cordas, Op. 26 (1958); Scherzo fantastico, do Quinteto para piano, Op. 29 (1963); Fantastico, do Terceiro quarteto de cordas, Op. 40 (1973). Nessas obras é observada a recorrência de técnicas e materiais a partir de parâmetros harmônico/melódicos e rítmicos. Também são apresentadas, por motivo de contextualização, uma revisão bibliográfica da divisão estilística tradicional do opus ginasteriano e uma análise da estrutura normativa (forma) do Scherzo, Op. 47. / The purpose of this study is to discover the stylistic synthesis of the Scherzo of the Sonata for Guitar, Op. 47 (1976), by Alberto Ginastera through the comparison with Ginasterian scherzi written before this work, including: Vivacissimo, of the First String Quartet, Op. 20 (1948); Presto misterioso, of the Sonata for Piano No. 1, Op. 22 (1952); Presto magico, from the Second String Quartet, Op. 26 (1958); Scherzo fantastico, from the Quintet for Piano, Op. 29 (1963); Fantastico, of the Third String Quartet, Op. 40 (1973). The recurrence of materials and techniques within the harmonic/melodic and rhythmic parameters are observed. A bibliographic review of the traditional style of the Ginasterian opus is carried out, as well as an analysis of the structural form of the Scherzo, Op. 47. / Este trabajo busca la verificación de la presencia de una síntesis estilística en el Scherzo de la Sonata para guitarra, Op. 47 (1976), de Alberto Ginastera, por medio de la comparación con scherzi ginasterianos precedentes a esta obra, siendo ellos: Vivacissimo, del Primer cuarteto de cuerdas, Op. 20 (1948); Presto misterioso, de la Sonata para piano No. 1, Op. 22 (1952); Presto magico, del Segundo cuarteto de cuerdas, Op. 26 (1958); Scherzo fantastico, del Quinteto para piano, Op. 29 (1963); Fantastico, del Tercero cuarteto de cuerdas, Op. 40 (1973). En estas piezas se observarán la recurrencia de técnicas y materiales partiendo de parámetros harmónico/melódicos y rítmicos. Así como son presentadas, por una contextualización necesaria, una revisión de la bibliografía acerca de la división estilística tradicional del opus ginasteriano y un análisis de la estructura normativa del Scherzo, Op. 47.

The pieces discussed throughout this dissertation provide evidence of the evolution of the fanfare and the ability of the fanfare, as a form, to accept modern compositional techniques. While Britten’s Fanfare for St. Edmundsbury maintains the harmonic series, it does so by choice rather than by the necessity in earlier music played by the baroque trumpet. Stravinsky’s Fanfare from Agon applies set theory, modal harmonies, and open chords to blend modern techniques with medieval sounds. Satie’s Sonnerie makes use of counterpoint and a rather unusual, new characteristic for fanfares, soft dynamics. Ginastera’s Fanfare for Four Trumpets in C utilizes atonality and jazz harmonies while Stravinsky’s Fanfare for a New Theatre strictly coheres to twelve-tone serialism. McTee’s Fanfare for Trumpets applies half-step dissonance and ostinato patterns while Tower’s Fanfare for the Uncommon Woman demonstrates a multi-section work with chromaticism and tritones. By applying modern compositional techniques to an older, abstract form, composers have maintained the original aesthetic while allowing for fanfares to be used as concert music. This document adds to the limited body of scholarly writing on modern fanfares.

No description available.