Paradoja: Concerto for Orchestra consists of three contrasting movements: slow, fast, slow (Paradoja = "paradox," Sp.). These movements are framed by a motif that opens and closes each of them, and connects them all. This framing motif is based on an alternation between a rhythmical pattern in the bass drum, and a melody sung by a boy mezzo-soprano, both over a string pedal. The first movement, Lamentos (Sorrows), is dramatic in character; it goes from simple to complex in its orchestration, harmony, texture, dynamics and tempo changes. The second movement, Algarabía (Tangle), reflects a festive affection; it presents a contrast to the first in character, tempo and spirit. The third movement, Sosiego (Serenity) provides a peaceful ending to the piece; it is lighter than the other two movements in texture and orchestration. The general harmonic language of Paradoja: Concerto for Orchestra is non-tonal yet centric, with surface references to functional harmony. However, the pitch content varies from movement to movement. The first movement is highly chromatic and based in the twelve-tone collection. The melodies are created by a combination of small pitch-class sets and sometimes are broken down and distributed among different instruments. Harmony is the result of the juxtaposition and counterpoint of these melodies, which vertically reiterate the same cells or creates new sets. The second movement is based on smaller collections than the first, and it is less chromatic. Contrast is often created by changing the collections or simply transposing them. The third movement is the most homophonic and the least chromatic of all three. It is based on a combination and juxtaposition of diatonic and non-diatonic collections that interact with each other. Paradoja: Concerto for Orchestra is examined in two broad categories. The first is a structural analysis, which includes details of form and pitch selection such as pitch collections, set classes and motives. The second is a stylistic analysis, which includes aspects of style such as rhythm, orchestration. The conclusion refers to the influence of historical models and aspects of the compositional process. Both the structural and stylistic analyses demonstrate how I have tried to merge diverse stylistic music elements to obtain a new personal idiom. / Music Composition / Accompanied by one .pdf score: Paradoja: Concerto for Orchestra: Full Orchestral Score.

The aim of this work is to understand the historic process which achieved the construction of the Latin American contemporary music movement in Belo Horizonte, more specifically, the Latin American Composer s Gatherings of Belo Horizonte, held in the years 1986-1988-1992-2002 sponsored by the Fundação de Educação Artística. It was also possible to get knowledge of their artistic cultural programs (works, composers, performers) in which one can found included the production of Brazilian music and music of Minas Gerais, as well as the theoretical questions presented in form of Thematic Panels. As for their importance not only in local, but national and international levels, the Latin American Composer s Gatherings have had a strong social impact in the city of Belo Horizonte in the decades of 1980-90, mainly through the academic scene, contributing to the musical formation of young composers and performers and for the structure of the musical composition area at the Escola de Música da Universidade Federal de Minas Gerais. As far as the common problems facing Brazil and Latin America on the above decades are concerned, a changing in favor of the Latin American contemporary music passed necessarily by the understanding that the politic and economic aspects were strongly connected with the cultural one. As for their production and musical diffusion, a major participation of all professionals - composers, performers, educators and musicologists - in the sense of interfering in the current teaching musical model practiced in institutions of fundamental, median and college levels. / O objetivo deste trabalho é compreender o processo histórico que levou à construção do movimento de música contemporânea latino-americana em Belo Horizonte, mais especificamente, os Encontros de Compositores Latino-americanos de Belo Horizonte, realizados nos anos 1986-1988-1992-2002, por meio da Fundação de Educação Artística. Buscou-se tomar conhecimento acerca de sua programação artístico-cultural (obras, compositores, intérpretes), na qual se encontram naturalmente incluídas a produção de música brasileira e mineira, bem como as questões teóricas apresentadas em forma de painéis temáticos. Diante da sua importância, não só em nível local, mas nacional e internacional, os Encontros de Compositores Latino-americanos tiveram um forte impacto social na cidade de Belo Horizonte nas décadas de 1980-90, principalmente no meio acadêmico, contribuindo para a formação musical de jovens compositores e intérpretes e para a estruturação da área de composição da Escola de Música da Universidade Federal de Minas Gerais. Considerando os problemas comuns ao Brasil e à América Latina nas referidas décadas, uma mudança no quadro em favor da música contemporânea latino-americana passava necessariamente pela compreensão de que os aspectos político e econômico estavam intimamente relacionados ao cultural. Quanto à sua produção e difusão musical, conclamava-se uma maior participação de todos profissionais compositores, intérpretes, educadores musicais e musicólogos no sentido de interferir no modelo de ensino de música praticado nas instituições de nível fundamental, médio e universitário. / Doutor em História