Submitted by Erika Demachki (erikademachki@gmail.com) on 2016-10-21T19:55:40Z No. of bitstreams: 2 Dissertação - Glawber Vitor Lucena - 2016.pdf: 8618258 bytes, checksum: 70d1caf3cd760181fce2b81995d16a25 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2016-10-21T20:17:42Z (GMT) No. of bitstreams: 2 Dissertação - Glawber Vitor Lucena - 2016.pdf: 8618258 bytes, checksum: 70d1caf3cd760181fce2b81995d16a25 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-10-21T20:17:42Z (GMT). No. of bitstreams: 2 Dissertação - Glawber Vitor Lucena - 2016.pdf: 8618258 bytes, checksum: 70d1caf3cd760181fce2b81995d16a25 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-04-27 / The present research has the aim to verify how musical training takes place at the Jean Douliez Academic Orchestra of the Music and Performing Arts School (EMAC) at Federal University of Goiás (UFG). It seeks to elucidate how the process of musical training of its members, the technical preparation of the instruments and the choice of the repertory take place as well as the development of the competences and skills in the mentioned orchestra. Regarding the methodological procedures, this is a case study based on a qualitative paradigm, having a phase of documental analysis and another one of field search. The Jean Douliez Academic Orchestra, by means of a subject called 'Musical Group - Orchestra Practice', aims to prepare and perform orchestral repertory bringing together, in its majority, musicians from the Music School at UFG. According to data gathered by observing the rehearsals and interviews with the conductors, it is concluded that this orchestra meets important musical knowledge, being a favorable musical practice, especially regarding the development of musical performances, knowledge about musical history and formal and stylistics aspects of a musical piece as well as aspects connected to instrumentation and interpretation. Thus, the results obtained in this study reinforce the importance of the work of the referred orchestra in the musical formation of the student body and in the strengthening of musical groups in the city of Goiânia. / A presente pesquisa tem como objetivo verificar como se dá a formação musical na Orquestra Acadêmica Jean Douliez, da Escola de Música e Artes Cênicas (EMAC) da Universidade Federal de Goiás (UFG), buscando elucidar como ocorre o processo de formação musical de seus integrantes, como se dá a preparação técnica no instrumento e a preparação do repertório; assim como o desenvolvimento das competências e habilidades na referida orquestra. No que se refere aos procedimentos metodológicos, configura-se como um estudo de caso, com base em paradigma qualitativo, constituindo-se de uma etapa de análise documental, e, outra, de pesquisa de campo. A Orquestra Acadêmica Jean Douliez, por meio da disciplina denominada Conjunto Musical – Prática de Orquestra, objetiva preparar e apresentar repertório orquestral, reunindo, em sua maioria, instrumentistas da Escola de Música e Artes Cênicas da UFG. Conforme dados coletados por meio de observação dos ensaios e entrevista com os maestros, constatamos que a referida orquestra atende aos importantes saberes musicais, constituindo-se uma prática musical favorável, principalmente ao desenvolvimento da execução instrumental, conhecimento de história da música e dos aspectos formais e estilísticos de uma obra, além de aspectos ligados à instrumentação e interpretação. Sendo assim, os resultados da presente pesquisa reafirmam a importância do trabalho da referida Orquestra na formação musical dos acadêmicos e no fortalecimento de grupos musicais na cidade de Goiânia.

Two important performance practices in the modern orchestral performance are discussed in this document: simplification and octavation. Due to the differing opinions and common practices which bass players have around these two performance practices, simplification and octavation have become two of the most complex issues faced by orchestral sections. The first part of the document will provide a brief history of simplification and octavation. The second part of the document will offer recommendation for double bass orchestral practice in the 21st century and examine key works of the bass repertoire in which simplification and octavation occur. The research and practice of leading pedagogues and major orchestral players and the solutions they have developed to reduce the discrepancy inherent within section playing will be discussed. This document will propose several empirical solutions to major excerpts in the bass repertoire, demonstrating how it is to achieve the most uniformed playing, and offer applicable and suggestive guidelines for contemporary orchestral double bass performers.