Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-05-11T20:22:07Z No. of bitstreams: 1 AlexandreMagnoAbreuDeGoes_DISSERT.pdf: 2457896 bytes, checksum: 8c274ded4e15bc4c58b0775af9eb4549 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-05-19T20:59:33Z (GMT) No. of bitstreams: 1 AlexandreMagnoAbreuDeGoes_DISSERT.pdf: 2457896 bytes, checksum: 8c274ded4e15bc4c58b0775af9eb4549 (MD5) / Made available in DSpace on 2016-05-19T20:59:33Z (GMT). No. of bitstreams: 1 AlexandreMagnoAbreuDeGoes_DISSERT.pdf: 2457896 bytes, checksum: 8c274ded4e15bc4c58b0775af9eb4549 (MD5) Previous issue date: 2015-08-05 / O trabalho de express?o empreendido pelo int?rprete recai, em grande parte, sobre a m?o direita do violonista. Conscientes deste fato, mestres do presente e do passado t?m deixado suas contribui??es para o desenvolvimento da t?cnica de m?o direita. Percebe-se, com exce??es, que as propostas pedag?gicas e interpretativas, at? o momento, t?m abordado o ataque ?s cordas a partir do movimento de flex?o dos dedos. Apresenta-se, entretanto, um recurso t?cnico denominado imalt, que inclui na a??o de ataque, o movimento de extens?o. Algumas t?cnicas empregadas em circunst?ncias espec?ficas, como o dedillo, a alzap?a, o tr?mulo e o rasgueado tamb?m utilizam movimentos de extens?o no ataque. Elas s?o postas em perspectiva, junto ao imalt, proporcionando uma vis?o panor?mica de suas caracter?sticas individuais. O emprego do imalt no repert?rio tradicional do viol?o ? exemplificado em Villa-Lobos, Ponce e Brower. Tr?s pe?as autorais foram compostas para esse trabalho: Shravana, Alegoria e Vandana. T?cnicas composicionais como a aplica??o de contorno mel?dico e ostinato, foram revisadas e empregadas na elabora??o destas composi??es. Um registro detalhado da trajet?ria composicional ? apresentado. Para tanto, empregou-se o vi?s anal?tico do Modelo de acompanhamento do processo Composicional (SILVA 2007). Alguns eventos que t?m deixado o imalt em evid?ncia s?o comunicados, como o lan?amento e distribui??o do CD Imalt, publica??o de partituras e entrevistas. Finalmente s?o apresentados coment?rios conclusivos, apontando perspectivas abertas pelo trabalho. / The task of expression undertaken by the performer falls largely on the right hand of guitarist. Aware of this fact, past and present masters have left their contributions to the development of right hand technique. It is clear, with rare exceptions, that educational and interpretative proposals, so far, have addressed the attack on the strings from the flexion of the fingers. This work, however, presents a technical resource called imalt, including in the attack action, the extension movement. Some techniques used in specific circumstances, such as the dedillo, the alzap?a, the tremulo and the rasgueado also use extension movements in the attack. They are put in perspective with the imalt providing a panoramic view of their individual characteristics. The use of imalt in the traditional guitar repertoire is exemplified in Villa Lobos, Ponce and Brouwer. Three pieces were composed for this work: Shravana, Alegoria and Vandana. Compositional techniques such as melodic contour applying and ostinato have been reviewed and used in the preparation of these compositions. A detailed record of compositional trajectory is presented. Therefore, the Model for the Compositional Process Accompaniment according Silva (2007) is used. Some events that have left the imalt in evidence are reported, as the launch and distribution of the Compact Disc (CD) Imalt, publishing scores and interviews. Finally is presented concluding comments, pointing possibilities opened up by this work.