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 2016-03-18T21:55:11Z No. of bitstreams: 1 GeronimoBritoVieira_DISSERT.pdf: 2786919 bytes, checksum: a2f8a28f3d46c4dd502130a0cb75f671 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-03-18T23:20:12Z (GMT) No. of bitstreams: 1 GeronimoBritoVieira_DISSERT.pdf: 2786919 bytes, checksum: a2f8a28f3d46c4dd502130a0cb75f671 (MD5) / Made available in DSpace on 2016-03-18T23:20:12Z (GMT). No. of bitstreams: 1 GeronimoBritoVieira_DISSERT.pdf: 2786919 bytes, checksum: a2f8a28f3d46c4dd502130a0cb75f671 (MD5) Previous issue date: 2015-02-13 / O presente trabalho tem como objetivo relatar o processo de prepara??o para a execu??o da ?Cantata Para Louvor e Gl?ria?, composta em 1985, pela compositora Cleide Dorta Benjamim (1936 - ), visando antecipar para futuros regentes, cantores e instrumentistas, as poss?veis dificuldades encontradas e enfrentadas. Inicialmente, atrav?s de uma breve apresenta??o da obra, s?o abordadas quest?es relacionadas ao texto escolhido, bem como a sua estrutura e import?ncia no processo composicional. Mais ? frente, s?o analisadas, identificadas e propostas resolu??es para as dificuldades existentes do ponto de vista das execu??es, vocais e instrumentais, e do gestual aplicado ? reg?ncia, sendo abordado, detalhadamente, cada movimento que comp?e a obra. O trabalho tamb?m apresenta um memorial que descreve todo o processo pr?tico de prepara??o da Cantata: reedi??o da partitura; sele??o e perfil dos cantores e instrumentistas; os ensaios; modifica??es e adequa??es na partitura; e uma breve entrevista com quatro cantores e dois instrumentistas que participaram do processo. A intera??o com a compositora, durante parte significativa do trabalho, traz uma marcante amplia??o dos poss?veis esclarecimentos e desenvolvimento das ideias, potencializando uma execu??o coerente da obra. / This study aims to document the preparation process for the implementation of "Cantata To Praise and Glory"(Cantata Para Louvor e Gl?ria), composed in 1985 by composer Cleide Dorta Benjamin (1936 - ), in order to anticipate and address the possible difficulties faced by future conductors, singers and instrumentalists. Issues that relate to the chosen text as well as its structure and importance in the compositional process, are initially addressed through a brief presentation of the work. Consequently, by addressing every detail of the work, solutions to vocal and instrumental execution difficulties, as well as with the conducting gesture, are analyzed, identified and proposed. The work also presents a report that describes all the practical processes of preparation of the Cantata: reissue of the score; selection and profile of singers and instrumentalists; rehearsals; changes and adjustments to the score; and a brief interview with four singers and two musicians who participated in the process. The interaction with the composer throughout a significant part of the work, brings a notable increase of possible clarifications and idea development, enabling a coherent performance of the work.