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

Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-04-26T10:36:42Z No. of bitstreams: 2 Dissertação - Laís Domingues Fujiyama - 2018.pdf: 18389180 bytes, checksum: e480b9f7ae8fc9fe91fa822ab08b68f6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-04-26T11:16:40Z (GMT) No. of bitstreams: 2 Dissertação - Laís Domingues Fujiyama - 2018.pdf: 18389180 bytes, checksum: e480b9f7ae8fc9fe91fa822ab08b68f6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-04-26T11:16:40Z (GMT). No. of bitstreams: 2 Dissertação - Laís Domingues Fujiyama - 2018.pdf: 18389180 bytes, checksum: e480b9f7ae8fc9fe91fa822ab08b68f6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present work deals with the discussion of the compositional aspects and technical idiomaticism of the 12 IMPROVISOS for guitar solo by Theodoro Nogueira. The dissertation is divided into three parts: the first one consists of a brief biography of the composer, which included the biographical’s recollection data (visit to the Zequinha de Abreu Museum, where the composer's Collection is at), interviews with guitarists Gilson Antunes and Geraldo Ribeiro (who recorded this cycle) and with the son of the composer João Antonio Nogueira. The second part consists on the compositional analysis processes of the improvisations, in confrontation with the nationalistic aesthetic influence and with the critics of other guitarists. We use the writings of the authors Schoenberg (2011) and White (1976) as the theoretical foundation for this aspect. In the third chapter, we intended to show the idiomatic aspects in his music writing. As a reference for our discussion about compositional and instrumental idiomaticism we consulted the writings of Tullio (2005), Kreutz (2014), Scarduelli (2007), Pereira (2012), Battistuzzo (2009) and Vasconcelos (2002). Some of our results have shown that, besides belonging to Brazilian nationalist aesthetics, Theodore Nogueira presents compositional peculiarities that put him in a position of visibility and academic interest in relation to his work for guitar, in addition to the technical level required for the performance of his parts is hard. The idiomatic suggestions for 12 Improvisos enhance the compositional aspects described in the previous chapter. / O presente trabalho trata da discussão dos aspectos composicionais e idiomatismo técnico violonístico do ciclo dos 12 Improvisos para violão solo de Theodoro Nogueira. A dissertação está dividida em três partes: a primeira consiste numa pequena biografia do compositor que incluiu o recolhimento dos dados biográficos (visita ao Museu Zequinha de Abreu onde está o acervo do compositor), entrevistas com os violonistas Gilson Antunes e Geraldo Ribeiro que gravaram este ciclo e com o filho do compositor João Antonio Nogueira. A segunda parte consiste na análise dos processos composicionais dos 12 Improvisos confrontada com a influência estética nacionalista/guarnieriana e com as críticas de outros violonistas e pesquisadores da obra de Nogueira. A fundamentação teórica do capítulo 2 consistiu nos autores Schoenberg (2011) e White (1976). O terceiro capítulo descreve as evidências dos recursos idiomáticos composicionais presentes na escrita do ciclo dos 12 Improvisos. Os autores que fundamentaram nossa discussão sobre idiomatismo e idiomatismo instrumental foram Tullio (2005), Kreutz (2014), Scarduelli (2007), Pereira (2012), Battistuzzo (2009) e Vasconcelos (2002). Alguns dos nossos resultados mostraram que, além de pertencer à estética nacionalista brasileira, Theodoro Nogueira apresenta peculiaridades composicionais que o colocam numa posição de visibilidade e de interesse acadêmico com relação à sua obra para violão, além disso o nível técnico exigido para a performance de suas peças é rigoroso. As sugestões idiomáticas para os 12 Improvisos potencializam os aspectos composicionais descritos no capítulo anterior.

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.

I studien utforskas hur man kan använda andra musikers tolkningar som inspiration i sin inter- pretationsprocess. Tre tolkningar av ett gitarrstycke, Sevilla ur Suite Española Op. 47 av Isaac Albéniz, analyseras och imiteras av interpreten varefter en ny tolkning av stycket skapas. Ge- nom ljud- och videoanalys ges en inblick i hur arbetet fortgår. Resultaten visar att författaren till denna studie upplevde sig haft en felaktig förutfattad mening angående de valda tolkning- arna i avseende på tempo och klangfärg. Efter studien hade författaren utvecklat verktyg för att analysera olika interpretationer samt blivit mer medveten om frågor som kan uppstå vid konstnärliga val kring tolkning av ett musikstycke. / The study explores how one can use other musicians' interpretations as inspiration in one's own interpretation process. Three interpretations of a guitar piece, Seville from Suite Española Op. 47 by Isaac Albéniz, is analyzed and imitated by the performer after which a new interpretation of the piece is created. Audio and video analysis gives an insight into how the work is progress- ing. The results show that the author of this study felt he had a wrong preconceived notion regarding the chosen interpretations in terms of tempo and timbre. After the study, the author had developed tools to analyze different interpretations and became more aware of questions that may arise in artistic choices regarding the interpretation of a piece of music.

Die Untersuchung widmet sich der Frage nach der Existenz elektrischer und elektrifizierter Gitarren im Deutschen Reich bis zum Ende des Zweiten Weltkriegs. In Form einer umfangreichen Spurensuche evaluiert die Autorin die Rezeption US-amerikanischer Entwicklungen – wie etwa die Markteinführung der Ro-Pat-In/Electro String Modelle A‑25/A‑22 („Frying Pan“) im Herbst 1932 – im deutschsprachigen Raum und zeigt, dass die steigende Popularität moderner Gitarren im angloamerikanischen Kulturraum trotz der nationalsozialistischen Diktatur auch in der deutschen Tanz- und Jazzmusikszene Widerhall fand. Als eine der zentralen Fragestellungen wird dabei untersucht, inwiefern im Deutschen Reich im Allgemeinen und im sächsisch böhmischen Musikwinkel im Speziellen eine bloße Imitation amerikanischer Instrumente stattfand oder in welchem Maße Eigenentwicklungen vorgenommen wurden. Im Zuge der Untersuchung begutachtet die Autorin zudem zahlreiche neuralgische Aspekte des Themenkomplexes: Angefangen mit umfangreichen Vorbetrachtungen zur Entwicklung der modernen Plektrumgitarre in den Vereinigten Staaten und den einzelnen Stationen bis hin zur Serienproduktion elektrischer und elektrifizierter Modelle, widmet sie sich der Frage nach dem Einfluss nationalsozialistischer Kultur- und Musikpolitik auf das Instrument und dem Stellenwert transatlantischer Austauschprozesse bei der Verbreitung moderner Gitarren im Deutschen Reich. Weitere Pfade der Spurensuche führen anschließend von den im Deutschen Reich tätigen Gitarristen wie etwa Hans Korseck, Hans Belle und Stassi de Tomboulis über deutsche Firmen und Hersteller wie Wenzel Rossmeisl oder Eugen Schuster hin zur umfangreichen Untersuchung von im Bestand des Deutschen Patent- und Markenamts befindlichen Patentschriften von Oskar Vierling und anderen Pionieren elektrisch verstärkter Instrumente. In einem weiteren Kapitel werden zudem exemplarisch zwei wichtige Periodika der damaligen Zeit – die Zeitschrift für Instrumentenbau und das Fachmagazin Der Artist – herangezogen und systematisch nach Spuren elektrischer und elektrifizierter Instrumente durchsucht. Durch diese umfassende und breitangelegte Herangehensweise liefert die vorliegende Untersuchung eine wichtige Grundlage für ein bislang kaum erforschtes Themengebiet und ermöglicht es der Organologie, die Frage nach der Genese elektrischer und elektrifizierter Gitarren im Deutschen Reich gänzlich neu zu datieren. / This study is dedicated to the question of the existence of electric and electrified guitars in the German Reich until the end of the Second World War. In the form of an extensive search for traces, the author evaluates the reception of US developments in the German-speaking area – such as the market launch of the Ro Pat In/Electro String models A‑25/A‑22 (‘Frying Pan’) in the autumn of 1932. The thesis demonstrates that the increasing popularity of modern guitars in the Anglo-American cultural sphere found resonance in the German dance and jazz music scene despite the Nazi dictatorship. One of the central questions explored is the extent to which mere imitation of American instruments occurred in the German Reich in general and in the Saxon-Bohemian musical region in particular, or to what extent independent developments were made. In the course of the study, the author examines numerous crucial aspects of the subject: Starting with extensive considerations on the development of the modern plectrum guitar in the United States and the individual stages leading to the mass production of electric and electrified models, the thesis explores the impact of Nazi cultural and music policy on the instrument and the significance of transatlantic exchange processes in the dissemination of modern guitars in the German Reich. Subsequent paths of investigation lead from guitarists active in the German Reich, such as Hans Korseck, Hans Belle, and Stassi de Tomboulis, to German companies and manufacturers like Wenzel Rossmeisl or Eugen Schuster, culminating in the comprehensive examination of patents by Oskar Vierling and other pioneers of electrically amplified instruments in the holdings of the German Patent and Trademark Office. In another chapter, two important periodicals of that time – the Zeitschrift für Instrumentenbau and the specialized magazine Der Artist – are also used, systematically searched for traces of electric and electrified instruments. Through this comprehensive and broad approach, the present study provides an important foundation for a hitherto scarcely explored area and enables organology to entirely reconsider the question of the genesis of electric and electrified guitars in the German Reich.

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.

Text in Afrikaans / Die doel van die verhandeling is om vas te stel in hoe 'n mate vyftien geselekteerde studies van Fernando Sor uit die Yepes- en Segovia-uitgawes van mekaar verskil deur die studies te vergelyk. Albei uitgawes is ook met die faksimilee-uitgawe vergelyk om die korrektheid van die Yepes- en Segoviauitgawes te bepaal. Seide Yepes en Segovia het heelwat veranderings aangebring. Die kenmerkendste van hierdie verskille word nie net uitgewys nie, maar daar word ook na moontlike redes gekyk waarom sulke verskille in die twee uitgawes aangebring is. Die gevolgtrekking is dat Yepes en Segovia duidelike redes gehad het waarom hulle verskil het van die faksimilee-uitgawe. Yepes en Segovia het verskillende tegniese benaderings wat bydra tot die uniekheid van die twee uitgawes wat vir die kitaarspeler 'n rykdom van moontlikhede bied in die uitvoering van hierdie studies. / The aim of the dissertation is to determine the differences between the Yepes and Segovia editions by comparing selected studies. In order to determine the correctness of the Yepes and Segovia editions both are compared to the facsimile edition as well. Yepes and Segovia both introduced a number of changes. The most typical of these are indicated and possible reasons for their inclusion in the two editions are discussed. The conclusion is that Yepes as well as Segovia had very definite reasons for including alterations to the facsimile edition in their own editions. Both have in their own editions an individual and highly personal approach which leaves us with the unique gifts of the two editions, and the guitar student with a variety of possibilities in the performance of these studies. / Department of Musicology / M.Mus. (Department of Musicology)

Text in Afrikaans / Die doel van die verhandeling is om vas te stel in hoe 'n mate vyftien geselekteerde studies van Fernando Sor uit die Yepes- en Segovia-uitgawes van mekaar verskil deur die studies te vergelyk. Albei uitgawes is ook met die faksimilee-uitgawe vergelyk om die korrektheid van die Yepes- en Segoviauitgawes te bepaal. Seide Yepes en Segovia het heelwat veranderings aangebring. Die kenmerkendste van hierdie verskille word nie net uitgewys nie, maar daar word ook na moontlike redes gekyk waarom sulke verskille in die twee uitgawes aangebring is. Die gevolgtrekking is dat Yepes en Segovia duidelike redes gehad het waarom hulle verskil het van die faksimilee-uitgawe. Yepes en Segovia het verskillende tegniese benaderings wat bydra tot die uniekheid van die twee uitgawes wat vir die kitaarspeler 'n rykdom van moontlikhede bied in die uitvoering van hierdie studies. / The aim of the dissertation is to determine the differences between the Yepes and Segovia editions by comparing selected studies. In order to determine the correctness of the Yepes and Segovia editions both are compared to the facsimile edition as well. Yepes and Segovia both introduced a number of changes. The most typical of these are indicated and possible reasons for their inclusion in the two editions are discussed. The conclusion is that Yepes as well as Segovia had very definite reasons for including alterations to the facsimile edition in their own editions. Both have in their own editions an individual and highly personal approach which leaves us with the unique gifts of the two editions, and the guitar student with a variety of possibilities in the performance of these studies. / Department of Musicology / M.Mus. (Department of Musicology)