Este trabalho visa analisar os problemas envolvidos na transcrição para o violão de obras compostas para alaúde barroco. São discutidas as diferenças entre os dois instrumentos relacionados à notação, número de cordas e afinação. É também apresentado um histórico do uso de scordatura nos diversos instrumentos de corda. São analisadas as características idiomáticas da música composta para alaúde barroco e as maneiras de adapta-las ao violão, propondo-se a utilização de afinação que reproduz no violão a relação intervalar das cordas do alaúde. Por fim é apresentada uma transcrição da Suíte XIII em Ré Maior, de S. L. Weiss, originalmente composta para alaúde barroco. / The aim of the present work is to analyze the problems involved in transcribing for guitar works originally composed for the baroque lute. The differences between the two instruments regarding notation, number of strings and tuning are discussed, followed by an overview of the use of scordatura in a variety of plucked instruments. The idiomatic characteristics of the music written for the Baroque lute and the possibility to adapt them to the guitar are analyzed. Finally, a guitar transcription of the Suíte XIII in D Major, by S. L. Weiss, originally written to the baroque lute, is presented.

Este trabalho visa analisar os problemas envolvidos na transcrição para o violão de obras compostas para alaúde barroco. São discutidas as diferenças entre os dois instrumentos relacionados à notação, número de cordas e afinação. É também apresentado um histórico do uso de scordatura nos diversos instrumentos de corda. São analisadas as características idiomáticas da música composta para alaúde barroco e as maneiras de adapta-las ao violão, propondo-se a utilização de afinação que reproduz no violão a relação intervalar das cordas do alaúde. Por fim é apresentada uma transcrição da Suíte XIII em Ré Maior, de S. L. Weiss, originalmente composta para alaúde barroco. / The aim of the present work is to analyze the problems involved in transcribing for guitar works originally composed for the baroque lute. The differences between the two instruments regarding notation, number of strings and tuning are discussed, followed by an overview of the use of scordatura in a variety of plucked instruments. The idiomatic characteristics of the music written for the Baroque lute and the possibility to adapt them to the guitar are analyzed. Finally, a guitar transcription of the Suíte XIII in D Major, by S. L. Weiss, originally written to the baroque lute, is presented.

Este trabalho visa analisar os problemas envolvidos na transcrição para o violão de obras compostas para alaúde barroco. São discutidas as diferenças entre os dois instrumentos relacionados à notação, número de cordas e afinação. É também apresentado um histórico do uso de scordatura nos diversos instrumentos de corda. São analisadas as características idiomáticas da música composta para alaúde barroco e as maneiras de adapta-las ao violão, propondo-se a utilização de afinação que reproduz no violão a relação intervalar das cordas do alaúde. Por fim é apresentada uma transcrição da Suíte XIII em Ré Maior, de S. L. Weiss, originalmente composta para alaúde barroco. / The aim of the present work is to analyze the problems involved in transcribing for guitar works originally composed for the baroque lute. The differences between the two instruments regarding notation, number of strings and tuning are discussed, followed by an overview of the use of scordatura in a variety of plucked instruments. The idiomatic characteristics of the music written for the Baroque lute and the possibility to adapt them to the guitar are analyzed. Finally, a guitar transcription of the Suíte XIII in D Major, by S. L. Weiss, originally written to the baroque lute, is presented.

Made available in DSpace on 2014-07-29T16:25:13Z (GMT). No. of bitstreams: 1 Dissertacao GILBERTO STEFAN - textual.pdf: 843240 bytes, checksum: 2e71477ba00e922c86401cd8e474c8b0 (MD5) Previous issue date: 2012-03-31 / This work deals with teaching of tremolo and scordatura techniques as extended techniques. To do so, it is based on the repertoire of contemporary classical guitar, in this dissertation understood as that covering the period of the last 35 years. The goal is to demonstrate the use of these resources in the teaching of musical performance addressed to the musicians previously able to perform the tremolo and scordatura in the traditional way. Divided into three parts, this work presents, in Chapter I, the state of the art in concepts of extended techniques, tremolo, scordatura and guitar pedagogy. Books, articles, theses, dissertations and communications published in the last 10 years, both in Brazil and abroad, have been consulted in search of theoretical background to justify such research. The theoretical framework that supports this dissertation can be seen in the productions of Carinci, Oliveira and Ray (2010), Batista (2009), Ishii (2005), and Tokeshi (2003). Chapter II presents the selection criteria and the excerpts of works containing the resources of tremolo and scordatura. A demonstrative frame with the pieces is firstly exposed. Other relevant information, such as year of publication of the pieces, is presented along with a brief biography of their composers. The extended resources identified in each work are also presented so that they can be compared to their traditional techniques. Chapter III contains the analysis of the extended resources and suggests a pedagogical application for the teaching of guitar. The main considerations resulting from this dissertation summarize, besides the thought about the teaching of extended techniques to the guitar, initial reflections on the genesis and taxonomy of newly invented technical and composicional resources. / Este trabalho trata do ensino das técnicas de trêmolo e scordatura sob o viés de técnicas estendidas. Para tanto, apoia-se no repertório do violão erudito contemporâneo, compreendido nesta dissertação como aquele que abrange o período dos últimos 35 anos. O objetivo é demonstrar o uso destes recursos no ensino da performance musical dirigida a instrumentistas previamente aptos a executar o trêmolo e a scordatura por seu viés tradicional. Dividido em três partes, este trabalho apresenta no primeiro capítulo o estado da arte referente aos conceitos de técnicas estendidas, trêmolo, scordatura e pedagogia do violão. Foram consultados livros, artigos, teses, comunicações e dissertações publicadas nos últimos 10 anos, tanto no Brasil quanto no exterior, na busca de subsídio teórico que justificasse tal pesquisa. O quadro teórico que embasa esta dissertação apresenta-se na produção de Carinci, Oliveira e Ray (2010), Batista (2009), Ishii (2005), e Tokeshi (2003). O segundo capítulo apresenta os critérios de seleção e trechos de obras que contêm os recursos de trêmolo e scordatura. Um quadro demonstrativo com as peças é exposto de início. Outras informações relevantes, como o ano de publicação das peças, são apresentadas junto a uma breve biografia de seus compositores. Os recursos estendidos identificados em cada obra também são apresentados de modo que seja possível compará-los ao seu viés tradicional. O terceiro capítulo contém a análise dos recursos estendidos e aponta uma aplicação pedagógica para o ensino destes ao violão. As principais considerações resultantes desta dissertação sintetizam, além do pensamento sobre o ensino de técnicas estendidas ao violão, reflexões iniciais sobre a gênese e a taxonomia de recursos técnicos e composicionais recém-inventados.

Philipp Heinrich Erlebach (1657-1714) was a court composer and music director in the central German town of Schwarzburg-Rudolstadt. During his day, Erlebach mastered nearly every genre of his era and turned the court of Rudolstadt into a sophisticated musical center. Unfortunately, a fire which consumed the Rudolstadt court in 1735 destroyed many of his sacred and secular manuscripts. Erlebach had a marked influence on the development of the sacred cantata. He was one of the first composers to write a cycle of texts by Erdmann Neumeister, the earliest cycle of Neumeister cantatas that survives. This study provides background and analysis of two cantatas, Ich will Wasser giessen and Christus ist mein Leben, and examines how this music can be performed today in a historically informed, logistically viable fashion.

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The lecture recital was given June 29, 1976. The subject was the History of the Violin Scordatura, and it included an historical survey of scordatura compositions along with discussions of the problems of notation and hints for solving the practical problems of performance. Works by Biber, Vivaldi, and Nardini were performed at appropriate moments during the lecture. In addition to the lecture recital, three other public recitals were performed: The first solo recital was on April 15, 1974 and included works of Albinoni, Copland, and Beethoven. The second program, a chamber music recital on January 19, 1975, featured works for piano trio by Haydn, Copland, and Arensky. The third recital was presented on April 14, 19 75 and included works by Vitali, Prokofiev, and Grieg. Magnetic tape recordings of all four programs and the written lecture material are filed together as the dissertation.

The "Mystery'" sonatas for scordato violin and continuo by H. I. F. Biber (1644-1704) had been largely ignored until 1905, when they were included in the collection of Austrian masterpieces, Denkmäler der Tonkunst der 0sterreich. Even then, they were the cause of some confusion which was later corrected in an addenda to the volume which included this series of sonatas. In the baroque period, scordatura was used by a few of Biber's contemporaries, but the technique is not commonly used today. In order to fully understand and to appreciate the " mystery" sonatas, a knowledge of scordatura is necessary, and this technique is discussed in Chapter II. Because the 17th century violins differed slightly from those used today, and the resources of the instrument had not yet been fully developed, a discussion of these aspects has been included. A comparison of the works of Biber with those of his contemporaries shows him to be an innovator who contributed greatly to the growing technique of the violin.