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Note: / Karol Szymanowski's music has fascinated me for a long time. The first time I encountered his name was in Artur Rubinstein's autobiography, which recounts how they first met and narrates many anecdotes about their friendship. At the time, I was living in Brazil, and was unable to find any recordings of his music. Nonetheless, Rubinstein's ardent praise of him (“a master!”, “a great Polish composer!”, “a powerful, original personality”) made me very curious, and I did not abandon my desire to keep looking for his music. Then, when I moved to Montreal in order to start my undergraduate degree at McGill University, I was finally able to find many recordings of his works at the school's library.[...]

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Orientadora: Yara Borges Caznók / Banca: Lutero Rodrigues da Silva / Banca: César Henrique Rocha Franco / Resumo: Tendo como objeto de estudo os 50 Ponteios para piano de Camargo Guarnieri, este trabalho se concentra na análise de suas estruturações melódicas e harmônicas, almejando compreender aspectos estruturais da poética do compositor neste ciclo de peças. Apresenta-se, inicialmente, um diálogo entre as transformações sofridas pela escritura melódico-harmônica de Guarnieri durante o período de composição desta coleção e uma contextualização histórico-estilística, na qual são focalizadas, principalmente, suas buscas por um nacionalismo influenciado por Mário de Andrade e suas experiências com diferentes idiomas harmônicos. Propõe-se, ainda como texto preparatório para as análises, uma classificação textural dos 50 Ponteios e, ainda, a verificação de algumas constâncias formais dentro desta coleção.Nos capítulos seguintes, esta dissertação se direciona para a verificação das escolhas dos materiais presentes na construção das melodias e harmonias e se estende sobre observação dos procedimentos composicionais característicos de Guarnieri - sua poética. A partir desta investigação analítica, constatamos, nos Ponteios e em outras obras do compositor, a recorrência de um motivo melódico o qual denominamos Motivo Guarnieri. Na dimensão harmônica, chamou-nos a atenção a reincidência de uma determinada estrutura harmônica simétrica, utilizada com função Dominante nos momentos cadenciais, além do cuidado, por parte do compositor, em usar estruturas simétricas nos contextos escalares, harmôni... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The aim of this work is to study the 50 Piano Ponteios of Camargo Guarnieri, focusing on the analysis of their melodic and harmonic structures, seeking to understand the structural aspects of the composer's poetics in this cycle of pieces. We initially examine the transformations incurred by Guarnieri's melodic-harmonic writing in the period that this collection was composed, and a produce a historical-stylistic contextualization. This contextualization focuses on the Brazilan nationalism which was influenced by Brazilian philosopher and critic Mário de Andrade, and Guarnieri's experiences with different harmonic languages. In preparation for the analysis, a textural classification of the 50 Ponteios is performed, as well as a verification of some formal consistencies within this collection. The dissertation is also directed to the examination of the choices of the materials present in the construction of the melodies and harmonies, and extends to the observation of the compositional procedures characteristic of Guarnieri - in other words, his poetics. From this analytical investigation we can observe, in the Ponteios and in other works by this composer, the recurrence of a melodic motif which we call The Guarnieri Motive. In terms of harmony, we are struck by the recurrence of a specific symmetrical harmonic structure, used as dominant function in cadential moments. We may also verify the care the composer took to use symmetrical structures in scalar, harmonic and formal con... (Complete abstract click electronic access below) / Mestre

Orientador: Nahim Marun Filho / Banca: Eduardo Seincman / Banca: Luiz Brito Passos Amato / Abstract: This research aims at the presentation of a stylistic overview of the João Domingos Bomtempo's piano sonatas, aiming the musical interpretation. In the first chapter, is presented a brief biography of this composer, focusing on his musical trajectory, his works and the composers with whom he had contact. The following chapter is dedicated to formal analyzes of his sonatas, contemplating especially the first movements, in which works by CAPLIN (1998), HEPOKOSKI & DARCY (2006) and ROSEN (1988) were the main references. In the third chapter, the texture elements of his sonatas are investigated, from the association with the specialized literature in interpretive practices, especially those that deal with the musical style of the composers of the London Pianoforte School, with whom Bomtempo had contact. Finally, the last chapter associates the content of previous chapters in order to make an interpretative proposal for Bomtempo's Sonata opus 15 n.1. In this research, it is possible to see a way in which formal and textural aspects of a musical work can be emphasized in a musical performance in order to enrich the musicality, providing interpretive possibilities. / Resumo: Esta pesquisa tem como objetivo a apresentação de um panorama estilístico das sonatas para piano de João Domingos Bomtempo, com vistas à interpretação musical. No primeiro capítulo, apresenta-se uma breve biografia deste compositor, com foco em sua trajetória musical, em suas obras e nos compositores com os quais teve contato. O capítulo seguinte é dedicado a análises formais de suas sonatas, contemplando especialmente os primeiros movimentos, em que obras de CAPLIN (1998), HEPOKOSKI & DARCY (2006) e ROSEN (1988) foram as principais referências. No terceiro capítulo, investiga-se os elementos texturais de suas sonatas a partir da associação com a literatura especializada em práticas interpretativas, especialmente àquelas que abordam o estilo musical dos compositores da Escola de Londres, com os quais Bomtempo teve contato. Por fim, o último capítulo relaciona o conteúdo de capítulos anteriores a fim de realizar uma proposta interpretativa para a Sonata opus 15 n.1 de Bomtempo. Nesta pesquisa, é possível ver a maneira como aspectos formais e texturais de uma obra musical podem ser enfatizados em uma performance a fim de enriquecer a musicalidade, fornecendo possibilidades interpretativas. / Mestre

The lecture was given on September 25, 1989. The discussion dealt with the stylistic characteristics of music for clarinet by Ernesto Cavallini and included a performance of four romanzas: La Calma, Un Pensiero, L'Incudine, and Lontano dalla Patria. Cavallini was the foremost clarinet virtuoso of the nineteenth century as well as a prolific composer of music for his instrument. The works presented in the lecture represent Cavallini's proclivity for a performance style combining virtuosity with lyrical expression. Copies of the original publications of Cavallini's romanzas were obtained from the Biblioteca del Conservatory, "Giuseppi Verdi," Milan, Italy. In addition to the lecture recital, three other recitals for solo clarinet were given. The first recital was given on October 29, 1984, and included works by Carl Maria von Weber, Leslie Bassett, Halsey Stevens, and Carl Reinecke. The second recital was given on July 29, 1985, and included works by Bernard Heinrich Crusell, Halsey Stevens, and Johannes Brahms. The third recital was given on October 3, 1988, and included works by Saviero Mercadante, Eugene Bozza, and John Ireland. All four recitals were recorded on magnetic tape and are filed, along with the written version of the lecture materials, as a part of the dissertation.

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