José Siqueira is one of the most influential and productive Brazilian composers of the twentieth century. He crafted a compositional system in 1941 which he called the Trimodal System, based on the three most present scalar modes in the Brazilian Northeastern folkloric tradition. As a composer of nationalist impulse, the process of developing the system was inspired by a desire to create a music that truly represented Brazilian culture. This originated what can be called his Trimodal compositional period, characteristics of which would persevere through his future compositions. This research analyzes Siqueira’s Concertino for Violin and Chamber Orchestra (1972) through the lens of his system. In his book, “O Sistema Modal da Música Brasileira,” the composer does not mention any of his concertinos as examples of pieces in which he utilized the Trimodal System. This study, however, observes that the System was embedded in his compositional style, even though he did not overtly make this claim. The examination of the piece also utilizes set-theory and pitch-class centricity in a post- tonal analytical approach. Pitch-class coherence is sought through the methodology developed by clarinetist vii and professor Aynara Silva (2013). In her research she listed 45 prominent pitch-class sets in Siqueira’s system. Thus, this present research aims to provoke a reflection regarding the placement of the violin concertino within the system, opening a new field of study for additional scholars to further investigate his concertinos. In addition to the analytical viewpoint, this dissertation provides guidance on the violinistic aspects of the piece, incorporating relevant elements from the violin technique found in the piece. As fruit of this research, this work includes the first revised edition of the concertino’s piano reduction and the violin part, working directly from Siqueira’s autograph. This edition will make the piece more accessible to players, possibly resulting in it being played more often, and in turn, being known by the general public as well as to music connoisseurs.

Made available in DSpace on 2015-05-14T12:52:33Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 9142957 bytes, checksum: 86752beec94b26514b271847628765ae (MD5) Previous issue date: 2013-03-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation examines the syntactic coherence of the Trimodal system of José Siqueira, through the analysis of the Quarta Sonatina for piano (1963) and Três Estudos para Flauta e Piano (1964) in light of three methodological procedures. The first of these procedures is the quantitative hierarchization of the harmonic structures, resulting in a new type of classification of the vertical entities, while proposing a method for identification and classification of the syntax of voice-leading between these structures; the second procedure is based on the concept of parsimonious connection from the Neo-Riemannian Theory and aims at investigating how the harmonic structures are connected to each other; and the third evaluates the impact of the relationship of pertinence and encapsulation between the pitchclass set in the syntactic connections between the sonorities. The application of these methodological procedures allow us to characterize a syntatic profile for the three analyzed works, revealing fundamental aspects regarding the consistency of the Trimodal system. It is still our intention that this work, which here gives a highly analytical look on a small portion of the work of Siqueira, would serve as a reference for research so that one can carry out the examination of other works of this composer, as well as other Brazilian composers who worked on the threshold between tonality and atonality, and that it would also extend its boundaries of applicability through the dialogue with other fields of research in music, especially that of musical composition, which will benefit from the modeling implemented here from a prescriptive approach. / Este trabalho examina a coerência sintática do Sistema Trimodal de José Siqueira (1907- 1985), através da análise da Quarta Sonatina para piano (1963) e dos Três Estudos para Flauta e Piano (1964) à luz de três procedimentos metodológicos. O primeiro desses procedimentos consiste na hierarquização quantitativa de estruturas harmônicas, resultando em uma nova tipologia de classificação das entidades verticais, ao mesmo tempo em que propõe uma metodologia de identificação e classificação da sintaxe de condução entre essas estruturas; o segundo procedimento se baseia no conceito de conexão parcimoniosa da Teoria Neo-Riemanniana e tem o propósito de averiguar como as estruturas harmônicas se conectam entre si; e o terceiro avalia o impacto das relações de pertinência e encapsulamento entre os conjuntos de classes de alturas nas conexões sintáticas entre as sonoridades. A aplicação desses procedimentos metodológicos nos permitirá caracterizar um perfil sintático para as duas obras analisadas, revelando aspectos fundamentais relativos à coerência do Sistema Trimodal. Ainda é nossa intenção que este trabalho, que aqui traça um olhar eminentemente analítico sobre uma pequena parcela da obra de Siqueira, possa servir como referencial de pesquisa para que se realize o exame de outras obras desse compositor, bem como de outros compositores brasileiros que trabalharam no limiar entre tonalismo e atonalismo, e que também possa ampliar suas fronteiras de aplicabilidade pelo diálogo com outros campos da pesquisa em música, mormente o da composição musical, que se beneficiará das modelagens aqui realizadas a partir de um viés prescritivo.