Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-03-12T20:35:47Z No. of bitstreams: 1 JoseSimiaoSevero_DISSERT.pdf: 5433739 bytes, checksum: b1d762e3a198dfefbacc9590e20eb05e (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-03-19T11:02:52Z (GMT) No. of bitstreams: 1 JoseSimiaoSevero_DISSERT.pdf: 5433739 bytes, checksum: b1d762e3a198dfefbacc9590e20eb05e (MD5) / Made available in DSpace on 2018-03-19T11:02:53Z (GMT). No. of bitstreams: 1 JoseSimiaoSevero_DISSERT.pdf: 5433739 bytes, checksum: b1d762e3a198dfefbacc9590e20eb05e (MD5) Previous issue date: 2017-12-15 / O presente Trabalho discorre sobre as caracter?sticas do choro e do jazz nas obras Lamentos do Morro, Duas Contas e Benny Goodman no Choro, do compositor An?bal Augusto Sardinha, o Garoto (1915-1955). O objetivo principal foi buscar caracter?sticas dos aspectos r?tmicos, harm?nicos, de articula??o e interpretativos das obras citadas. Apresenta tamb?m uma s?ntese sobre Garoto e o viol?o brasileiro bem como ressalta as influ?ncias deixadas por ele a partir de sua particularidade interpretativa e composicional no contexto do viol?o instrumental brasileiro. O aporte te?rico baseia-se em entrevistas, estudos das Obras e referenciais te?ricos, tais como: Ant?nio; Pereira (1982), Delneri (2009), Junqueira (2010), Mello (2012), Albanese (2013) e Mello; Gomide; Teixeira (2017). Os resultados confirmam a aproxima??o da obra de Garoto com o choro e o jazz, destacando-se a influ?ncia dos aspectos r?tmicos e harm?nicos. Conclui-se que as informa??es apresentadas corroboram o entendimento da obra do compositor bem como para sua interpreta??o. / The present work deals with the characteristis of choro and jazz in the works Lamentos do Morro, Duas Contas and Benny Goodman no Choro by An?bal Augusto Sardinha, Garoto (The Boy 1915-1955). The main objective was to search the rhythmic, harmonic, accentuation and interpretative characteristics of these works. We also present a brief discussion about Garoto and the Brazilian guitar, as well as the influences left from his interpretive and compositional particularity in the context of the Brazilian guitar. The theoretical contribution is based on interviews, studies of the works, as well as theoretical references such as: Ant?nio; Pereira (1982), Delneri (2009), Junqueira (2010), Mello (2012), Albanese (2013) and Mello; Gomide; Teixeira (2017). The results confirm the approximation of the work of Garoto with choro and jazz styles, specially the influence of the rhythmic and harmonic aspects. We conclude that the information presented corroborates the understanding of the composer's work and its interpretation.