Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-03-12T20:35:47Z No. of bitstreams: 1 LeandroFernandesDeOliveira_DISSERT.pdf: 5943967 bytes, checksum: 2eb679a93d4a33a3455f3fd503724733 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-03-19T11:22:40Z (GMT) No. of bitstreams: 1 LeandroFernandesDeOliveira_DISSERT.pdf: 5943967 bytes, checksum: 2eb679a93d4a33a3455f3fd503724733 (MD5) / Made available in DSpace on 2018-03-19T11:22:41Z (GMT). No. of bitstreams: 1 LeandroFernandesDeOliveira_DISSERT.pdf: 5943967 bytes, checksum: 2eb679a93d4a33a3455f3fd503724733 (MD5) Previous issue date: 2017-12-11 / Apresenta a experi?ncia de um trabalho de constru??o perform?tica onde o regente atua na qualidade de mediador no processo interpretativo utilizando, como ferramenta, as t?cnicas estendidas de duas obras: As Quatro Esta??es Portenhas de Astor Piazzolla (1921-1992) e Itiner?rio da Passagem: Ver?nica Nadir de S?lvio Ferraz (1959-). Utiliza a metodologia da pesquisa a??o considerando que a abordagem interpretativa ? desenvolvida pelo autor desta Pesquisa enquanto regente e diretor art?stico da Orquestra Funffec de Cordas (OFC). O contexto social da OFC inclui um trabalho desenvolvido a partir do ano de 2013 e conta com a participa??o de jovens com idade entre 10 e 22 anos. Este Projeto possui uma base t?cnica norteada pelos m?todos tradicionais no ensino de cordas friccionadas escritos, em sua maioria, no s?culo XIX. O objetivo da pesquisa ? apontar as principais dificuldades encontradas no trabalho deste repert?rio em rela??o ?s t?cnicas estendidas. Deste ponto, busca-se explorar as possibilidades e vari?veis oferecidas e, atrav?s do di?logo e pesquisa, estabelecer um crit?rio para a interpreta??o. Ap?s o trabalho de articula??o te?rica e anal?tica das Obras, estabelece-se o processo de constru??o interpretativa, principalmente, no que tange as t?cnicas estendidas utilizadas pelos compositores, anteriormente, mencionados. Assim, elementos das t?cnicas estendidas foram abordados, bem como seus conceitos e aplica??es e os poss?veis resultados sonoros. A comunica??o nos ensaios abriu espa?os para a opini?o dos jovens m?sicos na tentativa de estabelecer um processo em que suas experimenta??es e concep??es de sonoridades pudessem ser aplicadas no processo de interpreta??o do repert?rio proposto. / Presents a experience of work of the performance construction where the conductor acts as mediator in the interpretative process, using as tool the extended techniques of two works: The Four Seasons of Buenos Aires by Astor Piazzolla (1921-1992) and Intiner?rio de Passagem: Ver?nica Nadir by Silvio Ferraz (1959-). We used the action research methodology, considering that the interpretative approach is developed by the author of this research as a conductor and artistic director of the Orquestra Funffec de Cordas (OFC). The social context of the OFC includes a work which was developed since 2013 and it counts on the participation of young people with ages between 10 and 22 years old. This project has a technical base guided by the traditional methods on the teaching of written friction strings, mostly, in the 19th century. The purpose of this research is to identify the main difficulties encountered in the work of this repertoire in relation of the extended techniques, in the point of view seeks to explore the possibilities and available variables and trough this dialog and research, stablish a criterion to the interpretation. After the work of theoretical work and analytical articulation of the work, we established the process of the interpretative construction especially in what concerns the extended technique used by the compositors mentioned above. In this way, elements of the extended techniques were mentioned, such as its concepts and applications and the possible sound result. The communication on the rehearsal opened up space to the opinion of the young musicians on the attempt of stablish a process which its experimentations and conceptions of sonority could be applied on the process of interpretation and suggested repertoire.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-10-05T19:07:25Z No. of bitstreams: 1 AnaPaulaGomesDeSouza_DISSERT.pdf: 9202618 bytes, checksum: d0e9135cf5982be10cb95fd9f5ed5964 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-10-17T20:39:23Z (GMT) No. of bitstreams: 1 AnaPaulaGomesDeSouza_DISSERT.pdf: 9202618 bytes, checksum: d0e9135cf5982be10cb95fd9f5ed5964 (MD5) / Made available in DSpace on 2017-10-17T20:39:23Z (GMT). No. of bitstreams: 1 AnaPaulaGomesDeSouza_DISSERT.pdf: 9202618 bytes, checksum: d0e9135cf5982be10cb95fd9f5ed5964 (MD5) Previous issue date: 2017-06-21 / O trabalho composicional de Ernst Mahle, compositor alem?o, naturalizado brasileiro, torna-se peculiar por, originalmente, ser voltado para pr?tica pedag?gica. Suas composi??es foram, inicialmente, criadas a partir de uma busca por um repert?rio acess?vel dentro do desenvolvimento t?cnico dos alunos de in?meros instrumentos. Como maestro e professor, sendo um dos fundadores da Escola de M?sica de Piracicaba / SP4, atual cidade onde reside, inseriu em suas obras os elementos da m?sica folcl?rica brasileira, em paralelo ?s influ?ncias composicionais de Bart?k, que tamb?m se utilizava de caracter?sticas folcl?ricas em suas obras. No per?odo entre 1955 a 1980, Mahle comp?s Sonatas e Sonatinas para violino, das quais este Artigo apresenta a Sonata 1980 em uma abordagem interpretativa, visando a constru??o de uma performance, atrav?s de reflex?es sobre a m?sica contempor?nea e m?sica contempor?nea brasileira. A partir da contextualiza??o da M?sica atual, iniciamos uma abordagem sobre a constru??o da performance e as etapas da execu??o nos conceitos t?cnico, est?tico e filos?fico como tamb?m a reflex?o sobre a pr?tica da interpreta??o. A experi?ncia biogr?fica com o compositor ? compartilhada atrav?s de relatos pessoais, ap?s entrevistas, resultando em uma visita a sua resid?ncia na cidade de Piracicaba / SP no dia 8 de novembro de 2015. A matura??o do desenvolvimento da pesquisa resultou em uma constru??o perform?tica, entre sugest?es t?cnicas e interpretativas para uma boa execu??o, auxiliando a reflex?o sobre a valoriza??o do repert?rio contempor?neo de pe?as brasileiras para violino ainda pouco abordadas em recitais e salas de concertos. / The compositional work of Ernst Mahle, german composer, naturalized Brazilian, becomes peculiar by original being turned to pedagogical practice. His compositions were initially created from the search for an accessible repertoire within the technical development of the students of numerous instruments. As a teacher and conductor, being one of the founders of the School of Music of Piracicaba / SP5, the present city where he reside, include in his works the elements of brazilian folk music, in parallel with the compositional influences of Bart?k, who also use folkloric characteristics in your works. In the period between 1955 and 1980, Mahle composed Sonatas and Sonatinas for violin, of which this article presents the Sonata 1980 in an interpretative approach to construction of a performance, through reflections on contemporary music and contemporary brazilian music. From the contextualisation of the current music, it begins an approach on the construction of the performance and as stages of the execution in the technical, aesthetic and philosophical concepts, as well as a reflection on the practice of the interpretation. The biographical experience with the composer and shared through reports, post-interviews, resulting in a visit to his residence in the city of Piracicaba / SP on November 8, 2015. A maturation of this research development resulted in a performance construction, between technical and interpretative suggestions for a good performance, assisting a reflection on an appreciation of the contemporary repertoire of brazilian violin pieces not yet covered in recitals and concert halls.