Orientador: Esdras Rodrigues Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T00:34:41Z (GMT). No. of bitstreams: 1 Santos_JulianoBuosidos_M.pdf: 5944297 bytes, checksum: 6493cd8b9254b752c233881a86712f71 (MD5) Previous issue date: 2014 / Resumo: Esta pesquisa tem o propósito de divulgar um repertório pouco conhecido e interpretado atualmente: a música germânica escrita para consort de violinos para mais de quatro vozes, na segunda metade do século XVII. Um estudo histórico e estilístico nos possibilita aproximar desse repertório, identificando as influências que recebeu, seus antecedentes e seu desenvolvimento. Constataremos que a composição para este tipo de ensemble não foi um movimento isolado e nem raro, mas sim uma forma de instrumentação e escrita musical explorada em sua época, dada a sua rica e sofisticada possibilidade inventiva / Abstract: This research wishes to unveil a repertoire, which is little known and very seldom played nowadays: the music written for consort of more than four violins in the seventeenth-century in germanic lands. An historical and stylistic study shall allow us to improve our knowledge of this repertoire, identifying its origins, its influences and development. We will realize that this type of music was neither a peculiar nor a remote one, but rather that it was a particular form of instrumentation, customarily used by composers in that period, given its beautiful and sophisticated aesthetics / Mestrado / Praticas Interpretativas / Mestre em Música

The lecture recital was given June 29, 1976. The subject was the History of the Violin Scordatura, and it included an historical survey of scordatura compositions along with discussions of the problems of notation and hints for solving the practical problems of performance. Works by Biber, Vivaldi, and Nardini were performed at appropriate moments during the lecture. In addition to the lecture recital, three other public recitals were performed: The first solo recital was on April 15, 1974 and included works of Albinoni, Copland, and Beethoven. The second program, a chamber music recital on January 19, 1975, featured works for piano trio by Haydn, Copland, and Arensky. The third recital was presented on April 14, 19 75 and included works by Vitali, Prokofiev, and Grieg. Magnetic tape recordings of all four programs and the written lecture material are filed together as the dissertation.