Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-03-12T20:35:46Z No. of bitstreams: 1 FernandoFerreiraBatista_DISSERT.pdf: 5174276 bytes, checksum: 5382093101776e1087927ef3f685dd01 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-03-16T20:59:39Z (GMT) No. of bitstreams: 1 FernandoFerreiraBatista_DISSERT.pdf: 5174276 bytes, checksum: 5382093101776e1087927ef3f685dd01 (MD5) / Made available in DSpace on 2018-03-16T20:59:39Z (GMT). No. of bitstreams: 1 FernandoFerreiraBatista_DISSERT.pdf: 5174276 bytes, checksum: 5382093101776e1087927ef3f685dd01 (MD5) Previous issue date: 2017-12-15 / O presente trabalho aborda o processo criativo do autor na interpreta??o da su?te Remem?rias Opus 79 para viol?o solo do compositor Marlos Nobre (1939-). Na referente pesquisa, o int?rprete descreve seu processo criativo partindo de sua experi?ncia emp?rica na interpreta??o da referida obra. As ideias interpretativas foram fundamentadas em uma entrevista realizada com o compositor e nas influ?ncias da m?sica tradicional nordestina presentes na pe?a. Autores como, Andrade (1972, 1989), Alvarenga (1982), Corquer-Nobre (1994), Barancoski (1997), Azevedo (2000), Ferraz (2007), Silva (2007), Cavini (2009), Anjos (2013), nortearam nosso referencial te?rico. Foram elaborados exemplos musicais de trechos editados da partitura, exemplos audiovisuais e uma grava??o audiovisual completa da pe?a. / The present work deals with the creative process of the author in the interpretation of the Remem?rias Opus 79 suite for solo guitar by brasilian composer Marlos Nobre (1939-). In this research, the interpreter describes his creative process based on his empirical experience in interpreting the work. In order to provide a foundation for his interpretative ideas, the author made use of an interview with the composer and of the influences of traditional Northeastern music present in the piece. Authors like Andrade (1972, 1989), Alvarenga (1982), Corquer-Nobre (1994), Barancoski (1997), Azevedo (2000), Ferraz (2007), Silva (2007), Cavini (2009) and Anjos (2013), guided our theoretical reference. Musical examples of edited pieces of the score were developed, and use was made of audiovisual examples and a complete audiovisual recording of the piece.