Thesis (Master of Music)--University of Missouri-Columbia, 2004. / Typescript. Also available on the Internet.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Orientador : Prof. Dr. Edwin Pitre-Vásquez / Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Artes, Comunicação e Design, Programa de Pós-Graduação em Música. Defesa: Curitiba, 15/02/2017 / Inclui referências : f. 205-210 / Resumo: Aquela que aparece, no catálogo oficial das obras de Villa-Lobos, como sua primeira composição para violão - a Suíte Popular Brasileira - veio a público apenas 1950, nos últimos anos da carreira do compositor. Esse conjunto de cinco peças, visto por muitos autores como uma homenagem de Villa-Lobos aos músicos populares do Rio de Janeiro, homenagem prestada no momento em que se acredita que o compositor vivia na companhia amistosa desses músicos, é observada, nessa dissertação, por outro prisma. Aqui, o lapso entre a suposta concepção da obra e sua publicação aparece como um testemunho da complexidade e da ambiguidade que permeia a relação de Villa-Lobos com a música popular e do modo como essa relação participa do sentido atribuído pelo compositor à sua vida. Observá-la por esse novo ângulo implicou em colocar em questão e análise: 1) os sustentáculos da interpretação que usualmente se faz do significado dessa obra, isto é, o lugar privilegiado que Villa-Lobos ocupa na memória musical do Brasil e os discursos musicológicos consolidados em torno dele; 2) o modo como Villa-Lobos construiu sua trajetória de vida no diálogo com a música popular e os rastros da Suíte Popular Brasileira que foram se sedimentando e adquirindo sentido ao longo de tal trajetória. As discussões e conclusões presentes nesta dissertação se baseiam numa pesquisa bibliográfica e documental acerca dos pontos mencionados; seu ponto de partida teórico pertence à Etnomusicologia, mas seu desenvolvimento não seria possível sem uma imersão em textos das ciências sociais, da história e da filosofia. Palavras-chave: Villa-Lobos. Suíte Popular Brasileira. Música popular. Música Erudita. / Abstract: The one that appears in Villa-Lobos's official catalog of works as his first composition for guitar - the Suíte Popular Brasileira - came to the public only in the 1950s, it is, in the last years of the composer's career. This set of five pieces, seen by many authors as a tribute by Villa-Lobos to the popular musicians of Rio de Janeiro, a tribute given at the time when it is believed that the composer lived in the friendly company of these musicians, is seen, in this dissertation, by another prism. Here, the gap between the supposed conception of the work and its publication appears as a testimony to the complexity and ambiguity that permeates Villa- Lobos's relationship with popular music and the way in which this relation participates in the sense attributed by the composer to his life. Observing it from this new angle implied putting into question and analysis: 1) the basis of the interpretation that is usually made of the meaning of this work, that is, the privileged place that Villa-Lobos occupies in the musical memory of Brazil and the musicological discourses consolidated around him; 2) how Villa-Lobos built his life trajectory in the dialogue with the popular music and the trails of the Suíte Popular Brasileira that were sedimenting and acquiring meaning throughout this trajectory. The discussions and conclusions present in this dissertation are based on a bibliographical and documentary research about the mentioned points. Its theoretical starting point belongs to Ethnomusicology, but its development would not be possible without an immersion in texts of the social sciences, history and philosophy. Keywords: Villa-Lobos. Suíte Popular Brasileira. Popular music. Art music.

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Remembrance -- Suite -- Symphonic prelude. / Ng Wah-hei. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2005. / Abstracts in English and Chinese. / Abstract --- p.i / Table of Contents --- p.ii / Acknowledgements --- p.iii / Chapter 1. --- Remembrance for Orchestra --- p.1 / Chapter 2. --- "Suite for Flute, Clarinet, Cello, and Percussion" --- p.58 / Chapter 3. --- Symphonic Prelude for Orchestra --- p.100

The dissertation consists of four recitals: three solo recitals and one lecture recital. The repertoire of all the programs contained both music written specifically for the trombone and transcriptions from various other instruments. The lecture recital, "J. s. Bach's Six Suites for Solo Violoncello, BWV 1007-1012? Their History and Problems of Transcription and Performance for the Trombone," was presented on June 20, 1983. The lecture was an attempt to illuminate the rationale and performance problems of transcribing the Bach 'cello suites to the modern tenor trombone with an F attachment and also to provide background information on the suites and the early solo emergence of the violoncello. The program included the performance of the Suite No. 2_ in d minor, BWV 1008, with the movements: Prelude, Allemande, Courante, Sarabande, Minuets I and II, and Gigue.

The Bach Cello Suites have become widely transcribed and studied on the double bass. They have also become essential teaching material as most US orchestra auditions demand solo Bach for bass auditions. Transcribing the chords in Bach Cello Suites presents many difficulties on the bass because of the different tuning of our instrument (cello in 5ths; double bass in 4ths). There is no unified solution to all the problems presented in chord playing at this time. The purpose of this project, therefore is to give bass players solutions to the problems by looking at historical interpretation of chords, technical execution of the chords on cello and bass, tonal and resonance considerations and fingering solutions. The chords chosen represent the most common and most difficult to transcribe to the double bass from the Cello Suites.

The purpose of this study was to recognize the unique character of Benjamin Britten's writing for cello and to exhibit his exceptional contribution to the cello repertory. Britten made a significant contribution to the cello repertory with his six cello works: Sonata. for Cello and Piano in C, Op. 65, Cello Symphony, Op. 68, The Three Cello Suites, Op. 72, Op. 80, Op. 87, and Tema `Sacher . However, many of these compositions are underperformed and overlooked by today's performers. This disregard by the general public for Britten's cello works may be because of the interest in other extreme compositional styles employed by several other composers in the 20th century. While Britten's contemporaries focused on extremely inventive methods of writing, Britten focused on his own renovation of the traditional elements.This study focused on Benjamin Britten's four solo cello works: The Three Cello Suites, Op. 72, Op. 80, Op. 87, and Tema `Sacher'. It began with a biographical overview of Benjamin Britten's life, his writing philosophy, and the way it influenced his compositional process. This study then delved into the depth of the three solo cello suites, Tema `Sacher', and concluded with a summary of the analysis.Each of the works were examined and analyzed according to Britten's use of the concept of duality. The dual elements of rhythm/tempo/meter, motive, key/tonality/modality, form, and texture were analyzed in details. This study analyzed every movement based on its application of those elements. Excerpts of music were also provided to illustrate with the analysis.This study hopes to allow the public to rediscover the ingenious writing Benjamin Britten achieved and to encourage today's cellists to recognize Britten's importance as a composer in the history of cello composition. / School of Music

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