Sonata transposed to D minor. System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 25, 2005, Sept. 26, 2005, Nov. 27, 2006, and Oct. 13, 2008. Includes bibliographical references (p. 54-55).

Treatise (D.M.A.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.

Treatise (D.M.A.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.

Treatise (D.M.A.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.

Orientador(a): Maurício Funcia De Bonis / Banca: Lutero Rodrigues da Silva / Banca: Gilson Antunes / Resumo: Esta pesquisa investiga a obra para violão solo de Willy Corrêa de Oliveira, buscando compreender como a música se relaciona com elementos externos à sua estrutura, quais os processos de atribuição de significado desenvolvidos e quais as formas como os significados são articulados pela sintaxe musical. Para tanto, realizaremos um estudo da maneira como se desenvolvem os processos da metalinguagem, da intersemiose e da representação, e desenvolveremos uma leitura da expressão poética de cada peça / Abstract: This research investigates Willy Corrêa de Oliveira's solo guitar works, seeking to understand how music relates to elements external to its structure, the processes of attribution of meaning developed and how meanings are articulated by musical syntax. To do so, we will study the way in which the processes of metalanguage, intersemiosis and representation take place, and develop a reading of the poetic expression of each piece / Mestre

Orientador: Dorotéa Machado Kerr / Banca: Lina Ribeiro de Noronha / Banca: Giacomo Bartoloni / Banca: Gilson Antunes / Banca: Alexandre Francischini / Resumo: O presente trabalho descreveu o percurso histórico do violão, utilizado como instrumento executor do repertório erudito. Procuramos compreender como se deu o fenômeno de inserção do violão nos ambientes de concerto e nas instituições formais de ensino. Para tanto, realizamos uma pesquisa documental, seguida de uma pesquisa de reminiscências. A primeira parte da tese trata dos aspectos socioculturais do modernismo no Brasil. No momento posterior, avaliei as possíveis aproximações entre as teorias modernistas e a produção de obras para violão erudito. Ao final, procurei elencar algumas personagens significativas para a história do violão erudito, sobretudo professores. Pude concluir que o processo a utilização do violão como instrumento erudito ocorreu gradativamente, e teve resistência por parte da população e dos órgãos de imprensa. Essa resistência diminuiu por alguns fatores: a realização de transcrições para violão de obras canônicas do repertório europeu; a presença de violonistas estrangeiros, que trouxeram ao país a cultura do violão erudito; o adensamento das atividades de concertistas brasileiros no exterior; a formalização do ensino de violão erudito nas escolas, conservatórios e universidades. / Abstract: The present work describes the historical course of the guitar, used as an instrument for the classical repertoire. Our attempt was to understand how the insertion of the guitar occurred in concert environments and in formal educational institutions. To do so, we performed a research based on documents, followed by a research of reminiscences. The first part of the thesis presents the socio-cultural aspects of modernism in Brazil. Afterwards, I evaluated the possible approximations between the modernist theories and the production of works for erudite guitar. Finally, I tried to list some significant characters for the history of the erudite guitar, especially teachers. I could conclude that the process the use of the guitar as an erudite instrument occurred gradually, and there were resistances by the population and the press. This resistance was reduced by some factors: the transcriptions for guitar of canonical works of the European repertoire; The presence of foreign guitarists, who brought to the country the culture of the erudite guitar; The thickening of Brazilian guitarists' activities abroad; The formalization of the teaching of learned guitar in schools, conservatories and universities. / Doutor

Orientador: Marcos Fernandes Pupo Nogueira / Banca: Abel Luis Bernardo da Rocha / Banca: Sidney José Molina Júnior / Resumo: 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 / Abstract: 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 / Mestre

Much of guitarist Wes Montgomery’s study of jazz improvisation came from imitating Charlie Christian’s guitar solos. The purpose of this study is to identify and examine significant improvisational traits that Wes Montgomery developed as a direct result of his imitation and assimilation of Charlie Christian. The dissertation investigates the musical traditions in Christian’s playing that were absorbed into Montgomery’s playing and how Montgomery was able to use these traits to foster new musical traditions. The solo transcriptions are limited to Montgomery’s early recordings between 1957 and ending with his 1960 album The Incredible Jazz Guitar of Wes Montgomery. The study also examines the relationship imitation has with creativity in jazz and how originality is influenced by the past. The dissertation examines the two guitarists’ use of five harmonic and melodic devices over dominant harmonies: scales, arpeggios, use of chromatic pitches, formulas and enclosures, and harmonic substitutions. The study focuses on how Montgomery’s melodic and harmonic treatment of dominant harmonies has been influenced by his imitation and assimilation of Christian’s improvisations. The study examines how Montgomery differentiated himself in his improvisations from Christian’s. A strong emphasis is given to the significance of these differences and how these differences are connected to Montgomery’s originality and innovation. This dissertation confirms that Montgomery’s innovation was strongly linked to his imitation of Charlie Christian. It also suggests that devotion to the imitation of past artists is needed in developing an original voice in jazz. / Biographical history and musical development of Charlie Christian -- Biographical history and musical development of Wes Montgomery -- Stylistic traits of Charlie Christian over dominant-seventh harmonies -- Stylistic traits of Wes Montgomery influenced by Charlie Christian -- Conclusion. / School of Music

Thesis (M.M.)--University of North Texas, 2003. / Score of Tele (p. 50-54); in part graphic notation. Includes bibliographical references (p. 45-46).

Prelude -- Ray of lights -- Convergencias -- One art -- Dreams. / text