The National Library of Canada houses 3.5 meters of textual documents related to the celebrated Quebecois composer, Jacques Hétu (1938-2010). Among the working documents and biographical material donated in 1997 to the Jacques Hétu Fonds are autograph compositional documents relating to Hétu’s Suite pour guitare, Op. 41, written in 1986 (10 folios of sketch material and the composer’s fair copy). After deciphering, transcribing, and ascertaining the chronology of the sketches, an examination of the documents yields a new understanding of Hétu’s compositional process for Op. 41 (including the discovery of an unpublished movement entitled “Prelude II”) and the work’s form and structure. In addition, unpublished writings and correspondence by the composer are explored regarding Hétu’s life, musical style and his reception in Quebec. The study differs notably from traditional sketch studies in its adoption of a theoretical framework and methodology borrowed from critique génétique, or genetic criticism, a French movement of literary criticism originating in the 1970s. As opposed to traditional approaches to “genetic” documents, critique génétique dismisses the notion of a singular definitive text in favor of textual plurality by elevating the status of variants produced during the creative process (i.e. rough drafts or discarded versions). The advantage of a “genetic” approach is that it allows for the preclusion of fundamental theoretical problems associated with the use of a composer’s sketches to analyze a musical work. The extent to which the approach of critique génétique can be applied to music sketch is examined along with the consequences of adopting such a theoretical framework (including those regarding performance, editorial practice, and the ontology of completions of fragmentary works). / Graduate

Thesis (MMus)(Comp)--University of Melbourne, Faculty of the Victorian College of the Arts and Music, 2010. / Typescript.

Made available in DSpace on 2014-06-11T19:27:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-07-05Bitstream added on 2014-06-13T19:35:37Z : No. of bitstreams: 1 motta_dar_me_ia.pdf: 1605635 bytes, checksum: 0851c0715a487a5f1282bf986a48b432 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esse trabalho tem como foco a versão de “Quadros de uma Exposição” de Modest Musorgsky feita para violão solo por Kazuhito Yamashita. Através de uma contextualização histórica e estética, insere essa obra no cânone do repertório para violão e estuda os impactos causados pela gravação desta e por sua performance. Comparando-a com o original para piano e com a orquestração feita por Maurice Ravel, analisa as técnicas violonísticas empregadas de maneira incomum. Discute as formas de escrita para o violão, seus efeitos e possibilidades de execução / This work is about the guitar version of Modest Musorgsky’s “Pictures at an Exhibition” made by Kazuhito Yamashita. By an esthetic and historical context, analyses the insertion of this piece in the classical guitar repertoire and studies the impacts by the recording and performance of it. Making a comparison with the original piano piece and with the orchestration made by Maurice Ravel, makes an analysis about the guitar techniques used in an unusual way. Debates the guitar writing, his effects and the performance possibilities

abstract: Guitar repertoire from the Baroque period consists primarily of transcriptions, which suggests that modern performers may explore more sources to identify eligible works to transcribe. The Musikalischer Parnassus, a collection of dance suites for harpsichord by Johann Kaspar Ferdinand Fischer (1656-1746), is worthy of such a transcription. This collection has high artistic value and possesses a range and texture that make much of it playable on the guitar. The purpose of this research project is to introduce Fischer and his works to the classical guitar community, and also to explore the artistic qualities of Musikalischer Parnassus that qualify it for transcription for guitar. This document addresses the transcription process of two selected suites: VI, Euterpe and VIII, Polymnia by Fischer. The outcome is an edition for guitar and a performance guide, which includes interpretations and stylistic considerations for each movement. / Dissertation/Thesis / it is the appendix for the dissertation / D.M.A. Music 2013

Orientador: Marcos Siqueira Cavalcante / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-06T11:45:47Z (GMT). No. of bitstreams: 1 Mangueira_BrunoRosas_M.pdf: 1094068 bytes, checksum: bd77c8129c048a3adc829705f40d9b87 (MD5) Previous issue date: 2006 / Resumo: No período compreendido entre o final da década de 1960 e estes primeiros anos do século XXI, configurou-se, na produção fonográfica brasileira, um gênero de música instrumental com características próprias, em que a cultura do país é permeada pela estética do jazz norte-americano, sendo esperado do músico executante um elevado nível de proficiência e domínio das técnicas de improvisação. O presente trabalho concentra-se na obra de um dos protagonistas desse cenário, o guitarrista e violonista Hélio Delmiro, buscando examinar alguns dos elementos de inventividade musical constituintes de seu estilo, o que, acredita-se, poderá vir a contribuir para uma sistematização da aplicabilidade de tais recursos nesse tipo de arte, com ênfase nos instrumentos de sua especialidade. Para tanto, partindo-se do material resultante da pesquisa de iniciação científica O estilo de improvisação de Hélio Delmiro, foi feita uma comparação contextualizada de aspectos formais e estruturais presentes em sua obra gravada, seja por meio de composições, improvisos ou (re)harmonizações, com procedimentos já sistematizados por estudiosos da música popular. Essa observação demonstrou que Delmiro sintetiza suas influências estilísticas de maneira peculiar e consistente, sendo um importante personagem no processo de consolidação da linguagem da ¿música instrumental brasileira¿, e assumindo uma posição referencial com relação ao papel do violão e da guitarra nesse contexto / Abstract: During the period of time between the late sixties and the first years of the 21st century, the Brazilian phonographic production witnessed the configuration of a genre of instrumental music that proved to have its own characteristics; while containing the Brazilian culture, it is nevertheless permeated by the aesthetics of American Jazz, creating an expectation towards the performing artists of an elevated level of proficiency and the mastering of Jazz improvisational techniques. The genre is called here the ¿Brazilian Contemporary Instrumental Music¿. This paper concentrates on the work of one of the most important protagonists of this genre, the guitarist Hélio Delmiro. We seek to examine some of the elements of Delmiro¿s musical creativity and style, hoping this work will contribute to create a systematization and develop means to its applicability, with an emphasis on Delmiro¿s specialty. In order to realize this research, we departed from the findings of a previous one, developed during our undergraduate years, called ¿Hélio Delmiro¿s Improvisational Style¿. This paper presents a contextualized comparison of structural and formal aspects of Delmiro¿s recorded work, which includes compositions, improvisations, and reharmonizations. Those aspects have been previously systematized by scholars interested in ¿popular music¿, we applied some of those to the study of Delmiro¿s music. The realization that Delmiro makes use of different sources of material to develop his music demonstrated that he synthesizes his stylistic influences in a personal and consistent way, thereby becoming a very important protagonist regarding the process of consolidation of the ¿language¿ of the Brazilian Contemporary Instrumental Music, taking a very important position as a reference on the role and importance of the guitar in that context / Mestrado / Mestre em Música

Orientador: Denise Hortência Lopes Garcia / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T17:21:49Z (GMT). No. of bitstreams: 2 SilvaJunior_Marioda_D.pdf: 48186743 bytes, checksum: 133cb0b9a4725173147c881e36889dbf (MD5) SilvaJunior_MarioDa_D_Arquivo.zip: 2038235767 bytes, checksum: e34dd9f893c69f19aaacf3280395d90e (MD5) Previous issue date: 2013 / Resumo: O trabalho investiga as obras para violão dos compositores Edino Krieger (1928) (Ritmata, 1974 para violão solo), Chico Mello (1958) (Do Lado Do Dedo, 1987 para violão solo e Dança para quatro violões, 1986) e Arthur Kampela (1960) (Percussion Study 1,1991-93, para violão solo) visando criar um guia de interpretação e escrita da técnica expandida no Brasil. As obras perpassam um âmbito produtivo que se estende de 1974 a 1994 e investigaram-se conceitos e tendências em visão panorâmica da técnica expandida de maneira histórica nacional e internacional. Tal investigação teve como objetivo a abordagem das características complexas do ponto de vista rítmico-percussivo e timbrístico. Procedimentos articulatórios variáveis da execução do violonista implicam aprimoramento e enriquecimento da qualidade estética do repertório. Esses procedimentos consistem em processos criativos de viabilização acústica e adequação mecânica, suportes instrumentais e materiais para melhor clareza e exequibilidade nas obras. Elencou-se e categorizou-se cada possibilidade sonora expandida encontrada nessas obras / Abstract: The thesis investigates the works of composers Edino Krieger (1928) (Ritmata 1974 for solo guitar ), Chico Mello (1958) ( Do Lado do Dedo, 1987 for solo guitar and Dança for Guitar Quartet, 1986) and Arthur Kampela (1960) ( Percussion Study 1.1991-93 , for solo guitar) aiming to create a guide to interpreting and writing extended technique in Brazil. The works permeate the productive one that extends from 1974 to 1994 and investigated concepts and trends in technical overview of the expanded national and international historical way. Such investigation was aimed at addressing the complex features in terms of timbre and rhythmic- percussive procedures. Articulatory variables procedures (diversified plucking, tapping and percussive procedures) implementing by the guitarists imply improvement and enrichment of the quality of the aesthetic repertoire. These procedures consist of creative processes viability acoustic and mechanical fit, instrumental support and materials for clarity and feasibility in the works. Every extended sound found in these works was listed and categorized / Doutorado / Processos Criativos / Doutor em Música

The purpose of this dissertation is to present a comparative analysis of the sarabandes from the six cello suites. Six individual analyses each address the following elements: harmonic reduction, the relationship between the large-scale harmonic and metrical structures, the melodic elaboration of the harmonic-metrical structure, and the type and prevalence of sarabande rhythm. A summary at the end of each analysis provides a cumulative comparison of the results. Knowledge gained from this exercise will provide insight into Bach's conception of the genre by identifying both those features that stylistically unify the sarabandes as well as those that make each unique. In addition, the author will demonstrate the relationship between analysis and interpretation, using the sixth sarabande as an example. This interpretive process will also take into account the idiomatic nature of the guitar.

Orientador: Antonio Rafael Carvalho dos Santos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-10T21:57:03Z (GMT). No. of bitstreams: 1 Visconti_EduardodeLima_M.pdf: 2800194 bytes, checksum: 24c32e23e6e83c8c05b48c8e6a2c434d (MD5) Previous issue date: 2005 / Resumo: A partir da transcrição e análise das composições e improvisos musicais de Heraldo do Monte, embasando-se nos conceitos até hoje estabelecidos para composição e improvisação, investiga-se como o músico articula elementos musicais da música popular brasileira urbana (choro, samba e frevo), das manifestações musicais regionais e do jazz, criando um estilo peculiar e inovador de compor e improvisar na guitarra. Através de leituras sobre o Imaginário Nacional Popular, e de que forma este se manifestou na música popular dos anos 60, busca-se verificar, junto a artigos e entrevistas com Heraldo do Monte, até que ponto essas idéias podem ter influenciado o músico em certas escolhas estéticas que nortearam a fusão das influências musicais citadas para a construção, sob seu ponto de vista, de uma guitarra brasileira / Abstract: From the transcription and analysis of the compositions and musical improvisations of Heraldo do Monte and being based on the concepts so far stablished for compositions and improvisations, it is investigated how the musician articulates with musical elements of the Brazilian urban popular music (choro, samba and frevo), the regional musical manifestations and the jazz, creating a peculiar and inovating style of composing and improvising in the eletric guitar. Through readings of the Imaginário Nacional Popular and how it has manifested in the popular music in the sixties, it is verified in articles and interviews with Heraldo do Monte to what extent these ideas may have influenced the musician in certain aesthetical choices which guided the fusion of the mentioned musical influences for the construction, in his point of view, of a Brazilian eletric guitar / Mestrado / Mestre em Música

Stephen Goss composed Cinema Paradiso, a six-movement suite for solo guitar, as an homage to films and film directors. Goss cites nihilism as a theme in Dogville, the film that inspires the fourth movement, "Mandalay," but I assert that all the films and many musical devices throughout the piece can be read through the lens of nihilism. The first movement, "Paris, Texas," depicts the stark landscape of the opening scene of the 1984 Wim Wenders film of the same name. "Modern Times" chronicles Charlie Chaplin's slapstick-laden descent from the factory to the insane asylum in the opening sequence of his 1936 Modern Times. "Noir" is a tribute to the procedures of film noir: violent storylines that depict the harshness of life, dim lighting, and anti-hero characters, all accompanied by jazz. Lars von Trier's Dogville provides the movement "Mandalay" with its nihilistic meaning, but Goss writes that he invokes the musical style of Kurt Weill's opera The Rise and Fall of the City of Mahagonny. Just as the book people of François Truffaut's Fahrenheit 451 had to pass on books orally, Goss has burned the score for his "451," forcing guitarists to learn it by watching a video and listening to a recording. Finally, the chaotic tarantella, "Tarantino" depicts Uma Thurman's heroin overdose scene in Quinten Tarantino's Pulp Fiction. By analyzing Fredrich Nietzsche's writings to form a broader definition of nihilism and applying that definition first to each film and then to corresponding musical elements in each movement, this paper argues that nihilism acts as a connecting theme throughout Cinema Paradiso.

The seventeenth century in England produced a large and historically significant body of music for the viola da gamba played "lyra-way." Broadly defined, playing "lyra-way" on the viol meant playing from tablature notation in a polyphonic style. Most players of plucked strings such as lute and guitar are familiar with tablature and, as a result, have a decisive advantage when attempting to explore this music. Other factors that make lyra viol repertory potentially attractive to the modern guitarist are its chordal textures, similarities in physical properties of the instruments, and many points of connection regarding the principles of left hand technique. The purpose of this study is two-fold: 1) to illuminate the historical and cultural context of the seventeenth-century English lyra viol music in general and that of Tobias Hume (c. 1579-1645) in particular; and 2) to present an idiomatic transcription for the modern guitar of four representative pieces from Hume's 1605 collection Musicall Humours. Musicall Humours, published in London in 1605, is one of the first and most significant collections of music for the lyra viol. The collection is both ambitious and groundbreaking, being the largest repertory of solo music for the lyra viol by a single composer in the early seventeenth century. Since the modern guitar, although not as contrapuntally facile as the keyboard, is nevertheless capable of executing two- or three-voice polyphony, reconstruction of the polyphonic implications of solo lyra viol music becomes the first step in creating an idiomatic arrangement. The differences in acoustical properties and technical capabilities between the viol and the modern guitar have to be taken into consideration when deciding on the degree to which harmony must be filled in. Generally, thinner textures of the lyra viol music, when transferred directly to the guitar, tend to sound incomplete. The arranger's musical sensitivity and intimate familiarity with both instruments must guide the final stages of the transcription process.