Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2015-10-26T11:17:44Z No. of bitstreams: 2 Dissertação - Maurício de Oliveira Mendonça - 2015.pdf: 2052071 bytes, checksum: dc8527519261c4d53970a9171637c982 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-10-26T13:22:53Z (GMT) No. of bitstreams: 2 Dissertação - Maurício de Oliveira Mendonça - 2015.pdf: 2052071 bytes, checksum: dc8527519261c4d53970a9171637c982 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-10-26T13:22:53Z (GMT). No. of bitstreams: 2 Dissertação - Maurício de Oliveira Mendonça - 2015.pdf: 2052071 bytes, checksum: dc8527519261c4d53970a9171637c982 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-03-30 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / This research shows an overview of the mental practice used in performances by classical guitar experts in Brazil through literature review, interviews and concept aplications. A semi-structured questionnaire was used with professionals with an acclaimed career as concert players and/or post graduation advisors on performance/interpretative practices in this country aiming at analyzing in what ways the deliberate use of mental representations influences the process of preparation and realization of their performances. The hypothesis that these representations help in the expressivity has been confirmed and appear in various ways in the report of the interviewees and in literature. Evidences demonstrate that evoking emotional states, memories of events, objects or sensations as well as images associated with a musical intention can assist the performer. Some words, ideas, sensations or suggested images in these contexts can became a powerful foundation, provided that they find in the individual´s reference vocabulary and memories a compatible correspondent and its concrete means of realization. / Esta pesquisa demonstra um panorama das práticas mentais utilizadas na performance por violonistas especialistas atuantes no Brasil através de entrevistas, revisão de literatura e aplicação de conceitos. Foi aplicado um questionário semiestruturado entre profissionais de reconhecida carreira como concertistas e/ou orientadores de pósgraduação em performance/práticas interpretativas no país com o intuito de analisar de que maneira o uso deliberado de representações mentais influencia no processo de preparação e realização de suas performances. A hipótese de que essas representações auxiliam na expressividade se confirmou e aparece de variadas formas no relato dos entrevistados e na literatura. As evidências apontam que evocar estados emocionais, lembranças de episódios, objetos ou sensações bem como imagens associadas a uma intenção musical, podem auxiliar o performer. Algumas palavras, ideias, sensações ou imagens sugeridas nesses contextos podem se tornar um alicerce poderoso, desde que encontrem no vocabulário de referências e memórias do indivíduo um correspondente compatível e seu meio concreto de realização.

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The main purpose of this dissertation is to offer a modern transcription and critical edition of François Campion's Sonatina in D Major, found in his Piéces de Guitare du S.r Campion from 1748. Since it is not a common practice for the modern classical guitarist to study the baroque guitar and all its idiosyncrasies, this transcription from French tablature into modern notation will make this piece accessible to all classical guitar players. Using his sonatina as an example, this dissertation covers the process of transcribing baroque guitar French tablature while emphasizing a practical performance approach that suits the classical guitar. This approach includes examining tuning differences, suggested transposed notes, ornamental interpretation, and the overall differences in performance practice between both instruments. Not much is known about Campion's life (c1685-1747), but his importance as a musician in France during the early eighteenth century is evidenced by his publications and his accounts as a theorbo and baroque guitar player for the orchestra of the opera company L'Académie Royale de Musique, for which he was employed from 1703 until 1719. Unfortunately, while this music is fairly known and usually performed by early music specialists, it is ignored by modern guitarists, mainly because of the lack of modern transcriptions. This sonatina serves as an original critical edition adaptation for the classical guitar.

Continuing the discussion of interpreting J. S. Bach's lute music on the guitar, this dissertation seeks to demonstrate that Schenkerian analysis can assist the modern classical guitarist to better understand Bach's music. In particular, the Schenkerian approach provides an important methodology for studying Bach's music in depth, and then guiding performance practice on the guitar. Although there are many books and articles about transcribing, interpreting and performing Bach's music on the guitar, they do not apply Schenkerian analysis to guitar performance. This research will fill in the lacuna in this field, while promoting music scholarship and enhancing the performance practice of classical guitarists.