Thesis (D.A.)--Ball State University, 2009. / Title from PDF t.p. (viewed on Nov. 12, 2009). Includes bibliographical references (p. 245-246).

Th. 3e cycle--Hist. de la mus. et musicol.--Paris 4, 1980.

Thesis (D.M.A.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.

Heitor Villa-Lobos (1887-1959) stands central to the music history of the Brazilian twentieth century. His music represents a synthesis of the European art influences he absorbed and his quest to find a true Brazilian identity, which was not rooted in the deliberate imitation of Brazilian folk elements, but rather in the natural assimilation of them in his compositional style. His early compositions embody strong post-romantic, impressionistic tendencies, especially in regard to their harmonies and use of tone color, whereas the works from the 1920's and onwards show Villa-Lobos increasingly asserting his unusual and strong voice. Villa-Lobos's large-scale composition for piano, Rudepoêma, was composed between 1921 and 1926, and stands as one of the most significant contributions to the Latin-American piano literature. Despite of its importance in Villa-Lobos's oeuvre, it has largely eluded analytical attention. Discourse on Villa-Lobos is often marked by a somewhat one-dimensional approach that identifies the folk and rhythmic elements as the most important characteristics of his compositional style, and displays a certain reticence with regard to in-depth analysis of other parameters of his works. This study redresses the imbalance in the general approach to analytical assessment of Villa-Lobos's oeuvre by illustrating that pitch organization plays an indispensable role in establishing formal unity between the multiple sections of this complex work.

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Treatise (D.M.A.) -- Florida State University, 2003. / Advisor: Jeffery Kite-Powell, Florida State University, School of Music. Title and description from dissertation home page (viewed 11-18-03). Document formatted into pages; contains 101 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (D.M.A.)--University of Rochester, 2000.

Treatise (D.M.A.) Florida State University, 2006. / Advisor: Melanie Punter, Florida State University, College of Music. Title and description from dissertation home page (viewed 8-22-2007). Document formatted into pages; contains 203 pages. Includes biographical sketch. Includes bibliographical references.

Heitor Villa-Lobos, a native Brazilian, is one of the most significant Latin American composers, known for his distinct combination of indigenous music, European musical training and Brazilian folk music. In addition to his career as a composer, Villa-Lobos was involved with music education in Brazil. He was the chair of SEMA (Superintendence of Musical and Artistic Education). During his tenure with SEMA, he established music as a required subject in all schools through the study of choral singing. It was this period that led Villa-Lobos to compose his Guia Prático (Practical Guide), a collection of songs based on Brazilian folk music. Based on the original material of the Guia Prático, Villa-Lobos composed eleven books for solo piano, each one containing five to six pieces. The result is a varied collection of piano pieces that reflects the spirit of Villa-Lobos and his Brazilian soul. Though intended for pedagogical purposes, many pieces are too complex for the novice pianist. In this project, I have compared the existing manuscripts of the choral version of the Guia Prático and subsequent published versions, as well as the current piano version. With all the available scores, I began a comparison of each piece contained in the piano version. During this process, many questions arose regarding notation and editing. Therefore, in each piece I indicated the variants between scores. Some pieces are essentially identical to the original score but are included to complete the collection. The result is a revised and edited performance edition of the complete Guia Prático for Piano / School of Music