Orientador: Margarete Arroyo / Banca: Heloísa Feichas / Banca: Daniel Marcondes Gohn / Resumo: O autoaprendizado de música é uma prática comum entre jovens que desenvolvem processos personalizados de construção de conhecimento a partir dos seus interesses musicais. Por meio desses processos alcançam seus objetivos imediatos, o que torna essa forma de aprendizado uma opção tentadora. A guitarra elétrica é um instrumento frequentemente sujeito ao autoaprendizado. Para validar essa assertiva, apresento ao leitor nove jovens autoaprendizes de guitarra, que participam desta pesquisa qualitativa, um estudo de caso múltiplo. Observa-se que, nos últimos quinze anos, muito se investigou acerca de como esses processos são vividos pelos autoaprendizes, produzindo, inclusive, uma legitimação das práticas de aprendizado informais na música popular. Porém pouca atenção foi dada para as dificuldades que surgem no decorrer dessa trajetória e à consequente motivação por uma orientação musical de professores, seja presencialmente ou à distância. Sendo assim, o objetivo desta investigação é compreender por que alguns jovens autoaprendizes desejam uma orientação musical. Para ter êxito nesse processo investigativo, foi feito um levantamento de dados no meio digital, por intermédio de entrevistas semiestruturadas individuais, realizadas por videoconferência, criação de grupo de discussão no Facebook da pesquisa, observação e análise de vídeos dos jovens guitarristas postados no Youtube e registro em um caderno de pesquisa. Para análise e interpretação dos dados, recorri ao conceito de Aprendizagem Autodirecionada (Self-Directed Learning - SDL), inicialmente estruturado pelo educador americano Malcom Knowles. Este conceito foi adaptado para o contexto de aprendizagem musical a partir do modelo tridimensional SDL criado por Liyan Song e Janette R. Hill, que originalmente desenvolveram-no para a investigação do aprendizado em ambiente on-line. Os resultados desta pesquisa... / Abstract: Music self-directed learning is a common practice among young people who develop custom processes to build knowledge from their musical interests. Through these processes they reach their immediate goal which makes this form of learning a tempting option. The electric guitar can be considered one of the instruments that could lead to a self-learning. To validate this assertion, I present the reader nine young guitar self-learners who participated in this qualitative research, a multiple study case. It is observed that, in the last fifteen years, plenty of investigations have been made regarding to how these processes are experienced by self-learners, but little attention has been given to the difficulties that emerge in the course of this path and a consequent motivation for a musical orientation. Therefore, the objective of this research is to understand why some young self-learners seek for musical orientation. To succeed in this investigative process, data collection was made in the digital environment, through semi-structured individual interviews conducted by videoconference, debate groups on Facebook, observation and analysis of the young guitarists' videos posted on Youtube, and records in a fieldnotes. For the data analysis and interpretation, I resorted to the concept of Self-directed Learning (SDL), initially structured by the American educator Malcolm Knowles. This concept was adapted for the context of musical learning from the SDL three-dimensional model created by Liyan Song and Janette R. Hill that originally developed it to the investigation of the online learning environment. The results of this research have shown that all young people have achieved temporary limits in self-learning and sought for musical orientation. But a singular apprentice profile was identified, characterized by the interchange and simultaneity between self-learning and orientation. This profile indicates ... / Mestre

O presente trabalho investiga a interpretação do bambuco Florecita del camino do colombiano Jaime Romero (1966) para violão solo, uma vez que foi concebido pelo próprio compositor originalmente para trio típico colombiano, ou seja, para três instrumentos de cordas. O gênero bambuco é o maior representante da música andina colombiana. Para esta pesquisa apresento dados sobre a forma e a estrutura do bambuco e, analisei e comparei a versão original com a de violão solo. Dois artigos escritos pelo próprio compositor, assim como uma entrevista serviram de base para o trabalho. Para auxiliar na interpretação deste bambuco, criei exercícios e micro estudos para confrontar as dificuldades técnicas que encontrei, incluindo digitações, e dificuldades expressivas desta obra. Este material pretende não só ajudar o intérprete ao se deparar com bambucos, como divulgar o gênero da música andina colombiana. / The purpose of this study is to investigate the interpretation of the bambuco Florecita del camino by the Columbian composer Jaime Romero (b. 1966) for solo guitar. It was originally composed for the Columbian trío típico, by the same composer, for three stringed instruments. The bambuco is the most representative of Columbian music of the Andes. Information about the form and structure of the bambuco were presented, as well as an analysis and comparison of the original version with the guitar solo version. Two articles by the composer and an interview served as the basis of this work. As for the interpretation of the bambuco, I created exercises and microstudies to overcome the technical difficulties I encountered, including fingering, as well as expressive difficulties in the piece. This material may be used to help those learning to perform the bambuco, making this genre of Columbian music of the Andes more accessible to listeners, as well.

abstract: The German pianist and composer Johannes Brahms (1883-1897) wrote more than 122 works for a wide variety of ensembles and genres. Despite this remarkable productivity, and his widely heralded talent for innovation and technique as a composer, few of his works have been arranged for solo guitar, and these have focused primarily on his simpler, more melodic works. Conventional wisdom is that his music is "too dense" to be played on the guitar. As a result, there are no arrangements of orchestral works by Brahms in the standard repertoire for the guitar. In arranging Brahms's Serenade in D Major, movt. 1 for the guitar, I provide a counter argument that not all of Brahms's orchestral music is too dense all of the time. In Part I, I provide a brief overview of the history of, and sources for, the Serenade. Part II describes a step-by-step guide through the process of arranging orchestral repertoire for the solo guitar. Part III is an examination of the editing process that utilizes examples from the guitar arrangement of the Serenade in order to illustrate the various techniques and considerations that are part of the editing process. Part IV is a performance edition of the arrangement. In summary, the present arrangement of Brahms's Serenade, op.11 is the beginning of a conversation about why the "guitar world" should be incorporating the music of Brahms into the standard repertoire. The lessons learned, and the technical challenges discovered, should help inform future arrangers and guitar performers for additional compositions by Brahms. / Dissertation/Thesis / D.M.A. Music 2013

abstract: Arrangements of music from other instruments have always played a key role in expanding the guitar repertoire. This project investigates the life and work of eighteenth-century composer Antonio Soler (1729-1783), specifically his sonatas for solo keyboard. This study carries out a formal inquiry on Soler's influences, including a background of Soler's life and training, his connection with Domenico Scarlatti (1685-1757), and an overview of the eighteenth-century sonata in Spain. Timbres, articulations, tessitura, and other aspects of Spanish folk music are discussed as related to Soler's composition style. Five sonatas are analyzed in connection to Spanish folk music, and part of this study's focus was arranging the sonatas for two guitars: R. 48, 50, 60, 106 and 114. An overview of the current arrangements of Soler's sonatas for guitar is included in Appendix A. / Dissertation/Thesis / D.M.A. Music 2014

Inserido no campo da formação e das práticas profissionais na área da música, este trabalho tem o objetivo de apreender e compreender os modos de ser e agir na profissão, os valores, atitudes, interesses, destrezas e conhecimentos próprios da cultura profissional dos professores de violão. Para este propósito, é necessária a articulação de um conceito aberto de profissão, tendo como referência os trabalhos de Caria, Carrolo, Dubar e Franzoi. Nessa pesquisa foram entrevistados oito professores de violão, que exercem sua atividade em Porto Alegre/RS, cuja prática profissional varia de dois a vinte e cinco anos de experiência, e que atuam em espaços diversos, como escolas da rede de ensino, academias de música, casas dos alunos e em suas próprias residências. O material empírico foi colhido por intermédio de entrevistas semi-estruturadas, baseadas em relatos orais temáticos e diários de campo. Dentre as principais conclusões, pode-se destacar o fato dos professores de violão constituírem um grupo social singular que compartilha aspectos de uma cultura profissional, que é transmitida no transcorrer da socialização profissional. Tal cultura é entendida como um processo contínuo, que se inicia nas primeiras aproximações com a atividade e se estende por toda a vida profissional - e é apropriada e reinventada por cada indivíduo na construção de sua identidade profissional. Diante da impossibilidade em se destacar traços generalizantes dos modos de ser e agir desses professores, devido à própria natureza da atividade desenvolvida pelos sujeitos investigados, a pesquisa limita-se a apontar tendências gerais que balizam sua cultura profissional. Dentre essas tendências destacam-se: a importância das redes na construção e manutenção dos nichos de atuação e transmissão da cultura profissional; o ensino focado nas expectativas e necessidades do público atendido; o poder de adaptabilidade e resposta às mais variadas demandas; tendência às regularidades na construção das trajetórias profissionais, mesmo dentro de sistemas aparentemente instáveis; modos de ser e agir que se contrapõem às representações sociais estigmatizantes de precariedade e improvisação associadas a essa prática profissional. Os resultados contribuem para um maior entendimento acerca da constituição das culturas profissionais dos professores de instrumento musical. / Within the field of training and professional practice in the music area, this paper aims to capture and understand the ways of being and acting in the profession, values, attitudes, interests, skills and knowledge of the professional culture of guitar teachers. For this purpose it is necessary to articulate an open concept of profession, with reference works of Caria, Carrolo, Dubar and Franzoi. In this research eight teachers of guitar that have their activity in Porto Alegre/RS were interviewed and whose professional practice varies from two to twenty-five years of experience, and that act in different spaces such as schools of education network, academies of music houses of students and in their own homes. The empirical material was collected through semi-structured interviews, based on oral reports and field diary. Among the key findings, you can highlight the fact of guitar teachers are a natural social group that share aspects of a professional culture, which is transmitted in the phases of professional socialization. This culture is understood as a continuous process that begins in the first approximations with the activity and extends throughout life - and it is appropriate and reinvented by each individual in the construction of their professional identity. Facing the impossibility to highlight features that generalize the ways of being and acting of teachers, due to the nature of the activity performed by the subjects investigated, the search is limited to general trends indicating that sustains their professional culture. Among these trends are: the importance of networks in the construction and maintenance of niches of work and occupational transmission of culture, education focused on the needs and expectations of the public attended, the power of adaptability and response to the most varied demands, tend to regularities in the construction of professional paths, even in apparently unstable systems, ways of being and acting that is opposed to stigmatizing representations of social precariousness and improvisation associated with this practice. The results contribute to a better understanding about the formation of the professional cultures of teachers of musical instrument.

Orientador: Marcos Siqueira Cavalcante / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T14:36:55Z (GMT). No. of bitstreams: 1 Batista_AdrianodeCarvalho_M.pdf: 713091 bytes, checksum: a2b6db85291dd1dc0d5a08dd668648f8 (MD5) Previous issue date: 2006 / Resumo: Essa dissertação é um estudo sobre a formação e aplicabilidade das chamadas Tétrades na guitarra elétrica. O presente trabalho descreve o processo de construção de tais acordes, além de sistematizar alguns procedimentos de expansão harmônica levando em consideração as características técnicas e idiomáticas do instrumento. O estudo ainda busca organizar, de maneira sistêmica, as principais aberturas de acordes usadas na guitarra elétrica para a confecção de encadeamentos harmônicos aplicados em acompanhamento de importantes gêneros da Música Popular. Por meio das análises de transcrições também é possível perceber claramente os procedimentos estudados ao longo da pesquisa. Desta forma, esse trabalho é uma tentativa de amenizar as lacunas existentes na metodologia de ensino da guitarra, e se propõe a contribuir para a organização e elaboração do material harmônico utilizado por este instrumento. Além disso, também poderá ser utilizado como método ao estudo da harmonia e construção de tétrades na guitarra, para alunos ingressantes no ensino superior, assim como alunos dos cursos de música em nível fundamental e médio / Abstract: Four-Note Chord Voicings: A Harmonic Study of the Electric Guitar This research project is about the construction and application of four-note chord voicings for the electric guitar. The present work describes the building process of these chords and introduces a systematic procedure for harmonic expansion, taking in consideration the technical characteristics and idiomatic nature of the instrument. This study attempts to organize the main voicings used on the electric guitar to create harmonic cadences applied in the rhythm sections of important styles of Contemporary Popular Music. The procedures studied and utilized for this work are clearly evident through transcriptions and analysis. This work proposes to diminish the existing gaps in the study of four- note chord voicings and contribute to the organization and elaboration of study material for the instrument. Besides, it could be a method to the study of harmony and the building process of the four note chord voicings to the beginners in the college as well as students at basic and intermediate stages / Mestrado / Mestre em Música

Este trabalho visou localizar, ler e analisar teses e dissertações de mestrado e doutorado a respeito do violão escritas e defendidas em universidades brasileiras entre os anos de 1991 e 2007. Procurou, também, observar as aplicações didáticas desses trabalhos como auxílio a professores, alunos e demais interessados a respeito do violão. Finalmente, conseguiu demonstrar que, a despeito da parca bibliografia impressa no Brasil referente ao violão, esses trabalhos - muitos deles passíveis de serem obtidos em sites e bibliotecas de universidades - servem como material de referência e estudo aos pesquisadores e público em geral. / This paper intended getting, reading and to analyze the thesis of doctoral and master degree about the guitar written in Brazilian universities between the years 1991 and 2007. Intended, also, to observe the didactic applications of this thesis as a source for teachers, students and any interested people about guitar subjects. Last, it goals to show that, despite the small number of books about the guitar printed in Brazil, this works - in general not difficult to have access in websites and libraries of the universities - are useful as material of reference and study for both researchers and public in general.

Os Sei solo â Violino senza Baßo accompagnato de Johann Sebastian Bach (BWV 1001-1006) têm sido transcritos para violão em movimentos isolados desde o final do século XIX e a transcrição (1934) da grandiosa Ciaccona pelo espanhol Andrés Segovia (1893-1987) tornou-se uma peça central no repertório para violão, sobretudo porque que a escrita para violino sofreu um redimensionamento na adaptação do violonista. Por outro lado, as abordagens do ciclo completo no violão têm se aproximado cada vez mais da escrita original para violino. Kazuhito Yamashita (1989), autor da primeira gravação do ciclo completo no violão, se mostra ainda influenciado pela prática segoviana de transcrição, mas Frank Bungarten (1988 - Sonatas/2000 - Partitas) chega a rechaçar a transcrição BWV 1006a, em que o próprio compositor adiciona baixos e preenchimentos harmônicos; Elliot Fisk (2001) segue o exemplo de Bungarten, realizando linhas de baixo apenas ocasionalmente e Timo Korhonen (2009- 2010) leva esse tipo de abordagem ao ápice, não fazendo adição alguma. Contrariando a tendência atual, a única referência coeva que temos de J. S. Bach tocando seus solos de violino é ao clavicórdio, adicionando quanta harmonia ele julgasse necessário, segundo seu aluno Johann Friedrich Agricola. Transcrições dele e de seus contemporâneos nos mostram que a prática de transcrição sempre envolvia a modificação da escrita original para violino tendendo uma maior elaboração polifônica da obra segundo os recursos da nova instrumentação (normalmente teclado ou alaúde). Ao se transcrever os Sei solo para o violão, a prática da época revela que uma pretensa fidelidade ao texto original é tão equivocada do ponto de vista estilístico quanto seria a versão de Segovia se essa fosse julgada fora dos padrões de sua época. Por outro lado, há gravações parciais dos Sei solo ao violão que seguem em maior ou menor grau as práticas de transcrição e de execução barrocas, além de várias gravações do ciclo completo por alaudistas e cravistas que não hesitam em transfigurar a textura original da escrita para violino, para a adequação da escrita aos seus instrumentos. O presente estudo visa estabelecer os fundamentos de uma prática de transcrição para violão dos Sei solo com base nas técnicas de transcrição e de execução do período da composição sem a pretensão de autenticidade ou fidelidade, mas como fonte de recursos de instrumentação (pela reelaboração da textura polifônica com adições de linhas de baixo e preenchimentos harmônicos) e de expressão (pela adaptação de recursos estilísticos essenciais como as articulações e os ornamentos). Em segunda instância, o estudo apresenta uma nova transcrição para violão dos Sei solo como exemplo de aplicação dos fundamentos de adaptação dessas obras. / The Sei solo â Violino senza Baßo accompagnato by Johann Sebastian Bach (BWV 1001-1006) have been arranged for guitar as isolated movements since the end of the 19th century and the transcription (1934) of the great Ciaccona made by the Spaniard Andrés Segovia (1893-1987) became a central work on the repertory, mainly for he remodeled the violin writing when adapting it for guitar. In the other hand, more recent approaches of the cycle have been became progressively simpler and closer to the original writing for violin. The first recording of the cycle on guitar, made by Kazuhito Yamashita (1989), still shows influences of Segovia, but Frank Bungarten (1988 - Sonatas/2000 - Partitas) rejects even Bach\'s own transcription of the 3rd Partia, BWV 1006a, where the composer adds bass lines and harmonies; Elliot Fisk (2001) follows Bungarten\'s example, with few bass additions; Timo Korhonen (2009-2010) goes further and does not add any notes, relying just on the violin score. In opposition to today\'s tendency on guitar, the only reference we to Bach himself playing the violin Solos is on the clavichord, adding as much harmony as he considered necessary, as reports his student Johann Friedrich Agricola. Bach\'s and his contemporaries\' arrangements clearly show us that the change of the medium in a composition (usually violin or cello) always involved the modification of the original writing, generally having more polyphonic elaboration after the resources of the new instrument (normally keyboard or lute). The period\'s practice reveals that an intentioned fidelity to the original musical text in a guitar arrangement is as misplaced as it would be the Segovia\'s version when judged by today\'s standards. In the other hand, there are partial recordings of the Sei solo on the guitar that seek to follow the baroque\'s arrangement and performance practices. There are also several recordings of the whole cycle made by lute and harpsichord players that do not hesitated about changing the original writing for violin in order to adequate the works for their instruments. The present study aims to establish the adaptation principles of the Sei solo for guitar based on period\'s arrangement and performance practices with no pretention of reaching neither authenticity nor fidelity, but simply as instrumentation resources (when rewriting of polyphonic texture with additions of bass lines and harmonies) and expression resources (when adapting stylistic essentials like articulations and ornaments). The secondary purpose of this research is to exemplify an application of the adaptation principles by presenting a new arrangement of the Sei solo for guitar.

J.S. Bach (1685 – 1750) is celebrated for his exemplary musical compositions, but less known is Bach the inveterate transcriber. He not only transcribed at least nine concertos by Antonio Vivaldi (1678 – 1741), but he also arranged and adapted his own works, recasting them for other instruments. Among Bach's arrangements, are those for the lute, which were originally written for solo violin and cello. These two arrangements form a significant portion of J.S. Bach’s oeuvre for the lute, an instrument Bach would have been familiar with through his encounters with the finest lutenists of the age. Bach's lute arrangements provide valuable insight into the editorial decisions that were made when transcribing from solo strings to the lute, an instrument most similar to the guitar in sonority, structure and technique. This study examines J.S. Bach's process of arranging for the lute by comparing three extant versions of the same work: Bach’s Suite in C Minor BWV 1011 for cello, his Suite in G Minor BWV 995 for lute and an unsigned version in lute tablature dating back to Bach's time in Leipzig (Sammlung Becker. MS. III. 11. 3, housed at the Stadtbibliothek of Leipzig). The three extant versions of the Suite in G Minor form a unique trifecta among Bach's body of works that can be compared to reveal unique features in Bach's lute arrangements. By comparing the three sources, this study will demonstrate that J.S. Bach displayed a propensity towards musical elaboration when arranging from violoncello to the lute. In particular, Bach had a tendency to elaborate the following musical elements: melody, harmony, polyphony and rhythm. This study will show that these elaborations may be applied in a new guitar arrangement of Bach’s Suite in D Major BWV 1012. Finally, this author hopes that this study may be used as a guide or starting point for other arrangers in their attempt to create a stylistically cogent guitar arrangement of Bach’s unaccompanied works for violin or cello.

Previous research has shown that when children choose to play an instrument, their gender and preconceived notions tied to it, has been a big factor. Gender norms have ruled the expectations and choices available for girls. It has also been shown that more often the boys would play instruments and the girls would sing. The guitar is one instrument that has been closely paired with these stereotypes and therefore often unattainable for girls, but what is the situation like today in Sweden?  In Sweden musical education is available through your municipality’s “kulturskola”. It is the biggest educational institution in Sweden for kids when it comes to cultural activities, and many kids go there for the purpose of learning an instrument. Sweden’s capital Stockholm is the city which has the largest number of students, spread over 42 establishments, which will be the focus here.  This study will research how many girls partake in musical education through the municipalities in Stockholm, focusing on the guitar in particular, by compiling statistics from the schools. It will also try to answer how the girls perceive the guitar by doing an interview study with female guitar students.