Texte remanié de: Tesi--Florence, 1997. / Répertoire d'Andres Segovia p. 179-186. Bibliogr. p. 187-195. Index.

Thesis (doctoral)--Universität, Zürich, 1999.

Treatise (D.M.A.) Florida State University, 2005. / Advisor: Charles Brewer, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-9-07). Document formatted into pages; contains 83 pages. Includes biographical sketch. Includes bibliographical references.

O presente trabalho constitui-se numa pequena colaboração para o estabelecimento de um panorama dos Concertos para Violão e Orquestra. Desde suas primeiras obras no século XIX até a primeira metade do século XX. Buscamos identificar nessa exposição, personagens, fatos e eventos de fundamental relevância para o desenvolvimento do gênero e uma análise do Concerto para Violão e Pequena Orquestra de Heitor Villa-Lobos. / This work is a small collaboration to establish a panorama of Guitar Concertos since the initial works of the 19th century until the works of the first half of the 20th century. In this exposition, we focused on identifying characters, facts and events of fundamental relevance to the development of the genre. Especially, we developed a detailed analysis of the Concerto para Violão e Pequena Orquestra by Heitor Villa-Lobos.

Cette étude a pour ambition de mettre au jour la trajectoire du poète Hispano-Mexicain Tomás Segovia et de définir sa poétique. On tente ainsi de montrer comment son œuvre, conduite par le tropisme du nomadisme, mène de la reconnaissance des origines, à l’acceptation de l’héritage de l’exil puis au dépassement de cette problématique. La poétique du nomadisme touche à différentes sphères, elle est perceptible dans la thématique, l’écriture, les figures, les formes poétiques ou dans les effets de transfert entre les différentes formes d’arts. Ce sont là autant de points d’analyse à prendre en compte pour explorer les possibilités de cette esthétique nomade qui tend définitivement à brouiller les frontières. Des figures comme la synesthésie, l’oxymore ou la personnification emblématisent la propension à l’échange et au mouvement de la poétique « ségovienne ». Le poète explore aussi l’éventail des possibilités que lui offre la variété des mètres différents dans la silva et dans le rythme hendécasyllabique. Il s’essaye à diverses formes poétiques et explore les modalités de l’entre-deux. Il met à profit l’image du poème. Il dialogue avec d’autres pratiques artistiques et tire parti des mots de la musique et de la peinture. Son écriture procède par d’habiles entrelacements de mots, elle est toute sensorielle, à l’écoute du corps et elle s’offre généreusement dans des vagues langagières puissantes. Fidèle aux valeurs et aux luttes héritées de l’Espagne « peregrina », sa poésie n’entre pas dans la polémique de l’hispanité ou de l’américanité, elle a irrémédiablement choisi le drapeau du nomadisme pour réaliser son anagnorèse et ainsi déchiffrer et saisir le monde avec liberté. / The objective of this study is to reveal the trajectory of the Hispanic Mexican poet, Tomás Segovia, and define his poetry. We will therefore try to show that his work, driven by the impulse of nomadism, leads from the recognition of his origins to the acceptation of his heritage of exile and finally to the conquering of this problem. The poetics of nomadism touch different spheres perceptible in terms of topics, themes, writing style, figures of speech, poetic forms or even the effects of transferring notions between different domains of art. So many points of analysis must there be taken into account in order to explore the possibilities of this nomadic esthetic which certainly has the tendency to blur the borders. Figures of speech such as synaesthesia, the oxymoron or personification emblemize the propensity of exchange and the “Segovian” poetic movement. This poet also explores a range of possibilities which offer him a variety of different meters within the silva and in the Hendecasyllabic rhythm. He tests out diverse forms of poetry and explores the sensory perceptions between them. He takes advantage of the imagery of a poem. He dialogues with other artistic practices and pulls from them words from the worlds of music and painting. His writing proceeds from a clever interlacing of words; it is entirely sensory, it listens to the body, and it offers itself generously to powerful linguistic waves. Faithful to his values and struggling from a “pilgriming” Spain, his poetry does not enter into the polemic debate of what it means to be Hispanic or American, but rather chooses the emblematic cover of nomadism to fulfill its anagorisis, thus, decoding and seizing the world with freedom.

O presente trabalho constitui-se numa pequena colaboração para o estabelecimento de um panorama dos Concertos para Violão e Orquestra. Desde suas primeiras obras no século XIX até a primeira metade do século XX. Buscamos identificar nessa exposição, personagens, fatos e eventos de fundamental relevância para o desenvolvimento do gênero e uma análise do Concerto para Violão e Pequena Orquestra de Heitor Villa-Lobos. / This work is a small collaboration to establish a panorama of Guitar Concertos since the initial works of the 19th century until the works of the first half of the 20th century. In this exposition, we focused on identifying characters, facts and events of fundamental relevance to the development of the genre. Especially, we developed a detailed analysis of the Concerto para Violão e Pequena Orquestra by Heitor Villa-Lobos.

Composed in 1927 and dedicated to Segovia, Ponce's Sonata III, one of the staples of the classical guitar repertoire, is the focus of this paper. To put this piece into proper perspective among Ponce's other works, biographical information leading up to the composition of the piece is presented first. Each of the three movements is then analyzed with regard to formal construction as well as harmonic and melodic language. Analysis is an important precursor to actually playing the piece, as Sonata III is a work that departs from Ponce's previous compositional style. The main portion of this paper addresses the preparation and interpretation of Sonata III. The insight gained through initial analysis of the piece is used to arrive at a musically satisfying interpretation of the work. Specific performance suggestions are included. Technical issues are addressed and possible solutions are presented. Alternate fingerings are provided to alleviate some of the common technical challenges the guitarist will encounter. A transcription and discussion of the Segovia revisions are also present. The paper concludes with general suggestions for improving performance that would be applicable to other works for guitar as well. This synthesis of biographical information, analysis, editorial options and performance suggestions, has hitherto never been never been done for this great work.

Tomás Segovia and Angelina Muñiz Huberman belong to a group of writers known as «Hispanomexicanos». Most approaches to this generation have been towards the role that exile plays in their early work, paying almost no attention to its role after that initial stage. These approaches have been limited to the first years of their work, in the belief that those writers subsequently moved on to deal with issues which are different from those in which their experience of exile is clearly the central topic. However, through an analysis of the poetry of Muñiz and Segovia, this thesis aims to show that exile continues to play a central role beyond that first stage. It argues that their exile is transformed into a series of symbols that come to constitute a shared style and, more importantly, it proposes that their experience of exile is transformed into a feeling of existential displacement which impels a search for meaning and belonging to the world. Consequently, the conclusion presented in this thesis is that exile plays a central role in their poetry, in the sense that it expresses the ways in which these two writers search and transmit meaning and attempt to feel part of the world. Ultimately, this thesis aims to set an example of approach which could be productively taken to study the work of other writers from this generation.

Made available in DSpace on 2016-04-26T18:15:19Z (GMT). No. of bitstreams: 1 O Violao na Era do Disco.pdf: 1552859 bytes, checksum: 0a6e9bc8f1e3dda79176cc3c97f8225c (MD5) Previous issue date: 2006-03-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis shows how the classical guitar canon is a phenomenon of the twentieth century in contrast, for example, with the piano, violin and orchestral repertoires, whose canons had been formed step by step since the end of the eighteenth century and dependent as such on the criteria fixed by its interpreters through the medium of sound recording. The project highlights especially, the Age of LPs (1950-90) as the central part of a process where the act of listening to recordings seems to be as important as the edition of music scores. So, for the guitar, the writing is also a sound, and the music is primarily the musicians. Therefore, there are important analogies between the ascension and stabilization of the instrument in the international concert scene and the conceptual development of the recordings, which moves from the Recital LP , simulacrum of live performance, to the Art Work LP , influenced by the historically informed performance and constituting a kind of sound simulacrum of the edited music score. Two important artists who contributed to this process are studied here: Andrés Segovia (1893-1987) and mainly Julian Bream (1933), whose wide phonographic work, released during the second half of the twentieth century, has been analyzed in contrast with the recordings made by Segovia in the first half of the century. Taking that into consideration, authors such as Dahlhaus, Adorno, Lotman, Said and especially Bloom provide decisive conceptual tools for the thesis. Based on this theoretical approach, our study of Juliam Bream s discography has been divided into three moments: the poetical origins (the swerving from Segovia); the middle period (constitution of an independent voice); and the late phase ( misreading of the precursor). The thesis also includes a detailed research of the recordings made by both interpreters and it restores the original context of their albums / Esta tese procura mostrar como ao contrário, por exemplo, dos repertórios pianístico, violinístico e orquestral, cujos cânones formaram-se pouco a pouco desde finais do século XVIII o cânone do violão clássico é um fenômeno do século XX e, como tal, bastante dependente de critérios sonoros fixados por seus intérpretes através de gravações. Em especial, o trabalho destaca a Era dos LPs (aproximadamente 1950-90) como centro de um processo no qual a escuta de discos parece ser ao menos tão importante quanto a edição de partituras. Assim, para o violão, a escrita é também som, e as músicas são antes de tudo os músicos. Há, portanto, fortes analogias entre o processo de ascensão e estabilização do instrumento no cenário internacional de concertos e o desenvolvimento conceitual do disco, que caminha do LP Recital , simulacro da performance ao vivo, para o LP Obra , influenciado pela performance historicamente informada e espécie de simulacro sonoro da partitura editada. Dois artistas centrais para esse processo são estudados no trabalho: o espanhol Andrés Segovia (1893-1987) e sobretudo o inglês Julian Bream (1933), cuja larga obra fonográfica lançada durante a segunda metade do século XX analisamos contra o pano de fundo das gravações realizadas por Segovia na primeira metade do século. Para tanto, autores como Dahlhaus, Adorno, Lotman, Said e especialmente Bloom fornecem ferramentas conceituais decisivas para a fundamentação teórica da pesquisa. A partir desses pressupostos, dividimos nosso estudo crítico da discografia de Julian Bream em três momentos: as origens poéticas, onde predomina o desvio em relação a Segovia; o período médio, caracterizado pela constituição de uma voz própria independente; e a fase de maturidade, onde ocorre a desleitura do precursor. Nesse percurso, o trabalho realiza também um minucioso levantamento das gravações dos dois intérpretes e recupera o contexto original de seus discos

This research study reports on the effectiveness of older methodologies with regard to teaching purposes for the classical guitar. The following Methods were discussed : F Sor : Methode pour la Guitare; D Aguado : Nuevo Metodo para Guitarra; A Segovia, as written by V Bobri : The Segovia Technique. These Methods were evaluated and compared with current guitar techniques as applied by Pujol, Artzt, Carlevaro, Duarte, Duncan, Shearer, Parkening, Sagreras, and the opinions of Brouwer, Aussel and Barrueco were also taken into consideration. The following technical aspects were analysed : posture; the Tripod; right· and left·hand techniques; fingering and scales; quality of tone and right-hand stroke : apoyando, tirando and ornamentation, as applied by Sor, Aguado and Segovia; and Sor's opinion of transcriptions. The Methods for the vihuela, the four· and five-course guitar, and the efforts of the eighteenth and nineteenth century were briefly discussed, such as : Milan; Narvaez; Pisador; Mudarra / M. Mus. (Musicology)