Orientador: Nahim Marun Filho / Banca: Lutero Rodrigues / Banca: Eduardo Monteiro / Resumo: Esta pesquisa reúne informações específicas sobre o dedilhado pianístico. Através de uma revisão bibliográfica, o trabalho demonstra o surgimento de diferentes abordagens relacionadas a dedilhados durante o desenvolvimento da linguagem musical e dos instrumentos de teclado. Orientações de compositores, instrumentistas e editores-revisores indicam a existência de princípios que determinam a escolha de dedilhados. A revisão bibliográfica, portanto, identifica e classifica tais princípios de acordo com a natureza de sua elaboração. O olhar crítico às fontes selecionadas e analisadas justifica-se nas diretrizes da Nova História, a partir das idéias de Marc Bloch e da Escola dos Annales. Ao final, o trabalho discute a verificação e aplicação dos princípios levantados, em uma proposta interpretativa para o primeiro movimento da Sonata op. 78 de Beethoven / Abstract: This research brings together specific information about keyboard fingering. Through a bibliographic review, the study reveals the emergence of different approaches related to fingering during de development of musical language and the keyboards instruments. Orientations from composers, pianists and editors indicate the existence of principles determining the choice of fingering. The bibliographic review thus identifies and classifies these principles according to their nature and elaboration. The critical eye on the sources selected and analyzed draws on guidelines from the New History, stemming from ideas put forth by Marc Bloch and the Annales School. Finally, in a performance proposal for the first movement of Beethoven's Sonata op. 78, the principles identified are applied and verified / Mestre

This thesis is divided into three main sections. Part I concerns general aspects of performance, whilst Part II deals specifically with performance aspects of the Double Concerto for Oboe, Harp and Strings by Hans Werner Henze. Part III is a summary and conclusion of Parts1 and 11. It is hoped that this thesis will provide both a fresh approach to performance in general and also to the performance of Henze's double concerto. I have chosen to discuss aspects of Henze's double concerto, because of its significance as a major oboe concerto in the repertoire and the demands it makes on the oboist both as interpreter and technician. / Thesis (M.Mus)-University of Natal, Durban, 1979.

This study provides a resource for performers preparing Walton's Viola Concerto. It is intended to provide information regarding history, technical and musical obstacles, and common alterations to the viola part. The study begins with a historical overview of the work, including information about the composer and the composition. A review of the existing literature examines sources for parallel information and similar studies.The development of a methodology of study is based on the examination of nine excerpts from the Concerto. These excerpts represent technical and musical challenges found in the Concerto. Each example is accompanied by an excerpt from a study or etude that closely reflects the same technical musical challenges. These excerpts are provided as possible technical enhancement studies that, when practiced prior to or in conjunction with the study of the Concerto, provide the methodology of study with the means to actually address the technical demands of the Concerto.Included in the study are the opinions of professional violists, solicited for this study by means of a survey. The survey group is identified, and their opinions on the previously identified technical passages are presented. Compilations of survey responses, along with additional comments and suggestions, are provided in conjunction with the corresponding excerpts.The final portion of this study examines the alterations most frequently made to the viola part. These so-called "William Primrose alterations" are presented with the suggestions and recommendations of the survey respondents. Various aspects of performance practice are examined, and the study offers several conclusions on this subject.Survey participants agreed that performance of the Concerto is a task of considerable difficulty. Regardless of the performer or the performance venue, great technical, musical, and intellectual skill and energy is required. This study provides historical information that all performers should acquire, as well as a methodology of study. It includes performance and practice suggestions from several prominent violists. This methodology of study serves as a resource for violists who undertake to perform what is one of the most significant works in the viola repertoire. / School of Music

Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-06-13Bitstream added on 2014-06-13T19:56:05Z : No. of bitstreams: 1 oliveirajunior_ac_me_ia.pdf: 3987345 bytes, checksum: 01b4f6c25e67ddac60d968c9343c2b1c (MD5) / Esta pesquisa reúne informações específicas sobre o dedilhado pianístico. Através de uma revisão bibliográfica, o trabalho demonstra o surgimento de diferentes abordagens relacionadas a dedilhados durante o desenvolvimento da linguagem musical e dos instrumentos de teclado. Orientações de compositores, instrumentistas e editores-revisores indicam a existência de princípios que determinam a escolha de dedilhados. A revisão bibliográfica, portanto, identifica e classifica tais princípios de acordo com a natureza de sua elaboração. O olhar crítico às fontes selecionadas e analisadas justifica-se nas diretrizes da Nova História, a partir das idéias de Marc Bloch e da Escola dos Annales. Ao final, o trabalho discute a verificação e aplicação dos princípios levantados, em uma proposta interpretativa para o primeiro movimento da Sonata op. 78 de Beethoven / This research brings together specific information about keyboard fingering. Through a bibliographic review, the study reveals the emergence of different approaches related to fingering during de development of musical language and the keyboards instruments. Orientations from composers, pianists and editors indicate the existence of principles determining the choice of fingering. The bibliographic review thus identifies and classifies these principles according to their nature and elaboration. The critical eye on the sources selected and analyzed draws on guidelines from the New History, stemming from ideas put forth by Marc Bloch and the Annales School. Finally, in a performance proposal for the first movement of Beethoven’s Sonata op. 78, the principles identified are applied and verified

Orientadores: Mauricy Matos Martin, Silvio Ricardo Baroni / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-18T01:58:25Z (GMT). No. of bitstreams: 1 Grosso_HideraldoLuiz_D.pdf: 55265405 bytes, checksum: b67dc8d1db8dd26287ba5547b685f411 (MD5) Previous issue date: 2006 / Resumo: Este trabalho estabelece uma relação entre os Prelúdios para Piano de Almeida Prado e o Opus 28, de Frederic Chopin, através da comparação de aspectos técnicos de execução, em ambas as coleções, tendo em vista a concepção de uma interpretação a mais criteriosa possível. A metodologia utilizada parte de nossa experiência como intérprete, da leitura dos textos originais, da anotação de dedilhados, assim como da segmentação de cada Prelúdio em seções ou partes, permitindo a apreensão de componentes estruturais selecionados como o espaço, a linguagem, o tempo e o timbre, além da dinâmica, andamento, fraseado e pedalização, com sugestões de recursos técnicos à execução. O caminho percorrido é o da performance para a análise e as ferramentas utilizadas são primeiro as do intérprete e depois as do teórico ou analista. Complementa o trabalho os dois cadernos de Prelúdios para Piano, de Almeida Prado e uma bibliografia reunindo obras a partir das quais nos embasamos. A conclusão revela a interação entre os recursos de execução, exigidos pela linguagem de Chopin e de Almeida Prado, apresentando a possibilidade de um intercâmbio de procedimentos tanto para um como para outro compositor / Abstract: The purpose of this work is to study a possible relationship between the Preludes for Piano by the Brazilian composer Almeida Prado and Op. 28, by Frederic Chopin through the comparison of technical aspects of performance and a critical interpretation. The methodology is based on my experience as a performer, from readings of the original scores, fingering notations, as well as the segmentation of each Prelude. This permitted the comprehension of structural components such as space, musical language, time, timbre, dynamics, tempo, phrasing and pedaling indications. This study departs from performance to analysis and the tools employed thus began with the performer's resources, then those of the theorist or analyst. In this manner, technical resources for interpretation were suggested to obtain a refined performance. Besides, this study was also complemented by both volumes of Preludes for the Piano by Almeida Prado, followed by a bibliography. The conclusion reveals the possibility of interaction between the performance resources required by the musical language presented by Chopin, as well as by Prado. It demonstrates the possibility of an inter-exchange of procedures for either composer / Doutorado / Doutor em Música

This study investigates how different guitarists introduced saxophone-like phrasing into the improvisatory and compositional vocabulary of jazz guitar through their collaborations with saxophonists. This research presents a comparative analysis of phrasing, articulation, and melodic design in solo improvisations. The mixed approach to this study includes analysis of motives, voice leading, articulation, length of phrases, melodic contour, and the execution of bebop vocabulary on the guitar. The findings are based on original transcriptions from significant recordings by guitar-saxophone pairs. These highlight the similarities between and adaptations of musical devices from saxophonists Stan Getz, Jimmy Giuffre, and Joe Lovano into the jazz guitar styles of Jimmy Raney, Jim Hall, and John Scofield. This study supports the argument that the evolution of modern jazz guitar playing is directly connected to the adaptation of saxophone-like phrasing at an improvisatory and compositional level. It also shows that the concept of style in jazz flows between different instruments' lineages. Understanding these findings provides a more complex and accurate concept of the development of style in jazz.

The preludes as a whole do not conform to any specific formal mold, but offer a variety of form: binary, ternary, one-part, and five-part. As such, no new formal structures have been introduced by this "first" of the nineteenth century and twentieth century "disconnected" preludes. On the other hand, they are a heterogenous collection of styles, moods, and forms--a precedent that was followed by Debussy, Rachmoninoff, and various others. To determine the degree to which Chopin was harmonically advanced would require comparative analyses of works by his contemporaries and later nineteenth-century composers. Suffice it to say that one would be hard put to locate a collection of compositions of similar length and scope, written in the 1820's, that contains the wealth of harmonic innovations found within Opus 28.

This dissertation aims to explore the functions and meanings of four frequently used dynamic accent markings (fp, rf, sf and sfp) in Beethoven’s early chamber music with the fortepiano, with the consideration of acoustic qualities and playing capabilities of instruments intended for the studied works. The sources of reference here include the three Op.1 piano trios, two Op.5 cello sonatas, and three Op.12 violin sonatas, using a modern critical edition in conjunction with the first editions published during Beethoven's lifetime. The study consists of two parts. The first part surveys historical aspects including: 1) the development of relevant instruments, namely the bow and the fortepiano, and 2) existing accentuation conventions, especially those found in selected works of Haydn and Mozart, and appropriate treatises from Beethoven's time. The second part of the study entails the examination of consistency and frequency of dynamic accent markings in general, and that of individual accent markings using specific musical examples. The process of this investigation shows that these signs have distinct meanings, and consequently, require different treatments for their respective executions in performance. It also implies that the acoustic qualities of the ensembles with instruments from Beethoven's time are the most important factor contributing to variations found in his use of the accent markings among the different genres. Such acoustic qualities include the quieter volume and faster decay of the fortepiano, as well as the larger sonority from the cello especially in the lower register, when compared with instruments made for today's concert halls. These insights not only illuminate the possible ways to realize each marking, but also clarify accent markings which could seem inconsistent to modern performers, in terms of acoustic balance, especially in combinations that include the cello.

This submission investigates the interpretation and performance of selected solo and chamber works for flute by American composers Lowell Liebermann (b.1961) and Robert Beaser (b.1954). The exegesis presents a discussion of the interpretation and preparation of the included works from two differing perspectives. First, it examines the repertoire from the perspective of the composer, drawing on audio recordings of interviews and lessons conducted by the author in the United States of America. Second, it reviews the recitals from the perspective of the performer with emphasis on the preparation and performance of the selected repertoire. The discussion draws on two recitals by the author and associate artists that were recorded and presented in Elder Hall, The University of Adelaide on 11 December 2008 and 16 June 2009. Excerpts from the recitals are used to demonstrate the discussion and the CDs of the complete recitals are therefore integral to the submission. / Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2009

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