Este estudo analisa o Trio op. 97, escrito por Ludwig van Beethoven, mediante uma abordagem ligada às práticas interpretativas com um enfoque histórico, estético e musicológico. A pesquisa objetivou reconhecer, nessa composição, os procedimentos técnicos, sonoros e interpretativos para alcançar unidade sonora e um pensamento musical comum a uma formação camerística composta por piano, violino e violoncelo. Do ponto de vista metodológico, a pesquisa se valeu de um estudo prático-interpretativo ao piano, da revisão bibliográfica de estudos analíticos da concepção e dos aspectos interpretativos da obra, da escuta analítico-apreciativa de gravações da obra e de uma leitura de sua escrita. O trabalho de interpretação se apoiou, sobremaneira, na leitura analítica das fontes de pesquisa: manuscrito autógrafo, edições posteriores da partitura, cartas de Beethoven a seus editores e textos de comentadores de contemporâneos do compositor. Os resultados da pesquisa mostram, dentre outros pontos, que Beethoven buscou desenvolver uma parceria em que as características de cada instrumento são reconhecidas e valorizadas, mas sempre colocadas à disposição do conjunto. Também mostram que Trio op. 97 reserva ao violino papel menos proeminente que o do violoncelo; e que, com uma escrita pianística que privilegia acordes e as mais variadas figuras, o equilíbrio camerístico requer atenção especial nos quatro movimentos da obra. Enfim, os resultados apontam que as idiossincrasias são fundamentais para interpretar a notação e as intenções musicais de Beethoven. A sistematização das análises e reflexões aqui descritas permitiu clarear, aprofundar e sedimentar conhecimentos sobre a obra; mas de modo algum apontam uma direção única ou uma \"verdade absoluta\". / This study analyzes Trio op. 97, written by Ludwig van Beethoven. It does so by approaching it in connection with performance practice and with a focus on historical, aesthetic, and musicological aspects. The research aimed to recognize technical, sound, and interpretative procedures in this composition in order to achieve a sound unit and a musical thought peculiar to the chamber music formation made of piano, violin and cello. From a methodological point of view, the research relied upon a practical and interpretive study on the piano, a reading of analytical studies on the conception and interpretive aspects of Trio op. 97, an analytic and appreciative listening to recordings of this composition and a reading of its musical score. The interpretive work recurred greatly to the analytical reading of research sources such as autograph manuscript, later editions of its musical score, Beethoven\'s letters to his publishers, and of texts on Beethoven\'s life and music by contemporary commentators of him. Research results show, among other aspects, that Beethoven sought to develop a kind of work in which each instrument\'s characteristics are recognized and valued but it always serves the group. Besides, they show point that Trio op. 97 attributes to the violin a role less prominent than cello\'s; and that with a piano writing focused on chords and varied figures, chamber music\'s balance demands special attention as to the four movements of the Trio. Finally, results indicate that the idiosyncrasies are fundamental to interpret Beethoven\'s notation and musical intentions. That said, systematizing analyzes and making some thoughts on this thesis made possible to clarify, deepen and consolidate certain knowledge on Trio op. 97. But it doesn\'t meant prescribing a direction or an \"absolute truth\" regarding a forma of understanding and valuing it.

Este estudo analisa o Trio op. 97, escrito por Ludwig van Beethoven, mediante uma abordagem ligada às práticas interpretativas com um enfoque histórico, estético e musicológico. A pesquisa objetivou reconhecer, nessa composição, os procedimentos técnicos, sonoros e interpretativos para alcançar unidade sonora e um pensamento musical comum a uma formação camerística composta por piano, violino e violoncelo. Do ponto de vista metodológico, a pesquisa se valeu de um estudo prático-interpretativo ao piano, da revisão bibliográfica de estudos analíticos da concepção e dos aspectos interpretativos da obra, da escuta analítico-apreciativa de gravações da obra e de uma leitura de sua escrita. O trabalho de interpretação se apoiou, sobremaneira, na leitura analítica das fontes de pesquisa: manuscrito autógrafo, edições posteriores da partitura, cartas de Beethoven a seus editores e textos de comentadores de contemporâneos do compositor. Os resultados da pesquisa mostram, dentre outros pontos, que Beethoven buscou desenvolver uma parceria em que as características de cada instrumento são reconhecidas e valorizadas, mas sempre colocadas à disposição do conjunto. Também mostram que Trio op. 97 reserva ao violino papel menos proeminente que o do violoncelo; e que, com uma escrita pianística que privilegia acordes e as mais variadas figuras, o equilíbrio camerístico requer atenção especial nos quatro movimentos da obra. Enfim, os resultados apontam que as idiossincrasias são fundamentais para interpretar a notação e as intenções musicais de Beethoven. A sistematização das análises e reflexões aqui descritas permitiu clarear, aprofundar e sedimentar conhecimentos sobre a obra; mas de modo algum apontam uma direção única ou uma \"verdade absoluta\". / This study analyzes Trio op. 97, written by Ludwig van Beethoven. It does so by approaching it in connection with performance practice and with a focus on historical, aesthetic, and musicological aspects. The research aimed to recognize technical, sound, and interpretative procedures in this composition in order to achieve a sound unit and a musical thought peculiar to the chamber music formation made of piano, violin and cello. From a methodological point of view, the research relied upon a practical and interpretive study on the piano, a reading of analytical studies on the conception and interpretive aspects of Trio op. 97, an analytic and appreciative listening to recordings of this composition and a reading of its musical score. The interpretive work recurred greatly to the analytical reading of research sources such as autograph manuscript, later editions of its musical score, Beethoven\'s letters to his publishers, and of texts on Beethoven\'s life and music by contemporary commentators of him. Research results show, among other aspects, that Beethoven sought to develop a kind of work in which each instrument\'s characteristics are recognized and valued but it always serves the group. Besides, they show point that Trio op. 97 attributes to the violin a role less prominent than cello\'s; and that with a piano writing focused on chords and varied figures, chamber music\'s balance demands special attention as to the four movements of the Trio. Finally, results indicate that the idiosyncrasies are fundamental to interpret Beethoven\'s notation and musical intentions. That said, systematizing analyzes and making some thoughts on this thesis made possible to clarify, deepen and consolidate certain knowledge on Trio op. 97. But it doesn\'t meant prescribing a direction or an \"absolute truth\" regarding a forma of understanding and valuing it.

The role of the first violinist in a professional symphony orchestra is rarely only to perform. The position of concertmaster, at the professional level, generally constitutes a wide range of responsibilities and activities, not necessarily restricted to the realm of music-making. The present research utilized interviews with five concertmasters of professional Brazilian symphony orchestras in order to respond to the following questions: What is the role of the professional concertmaster? What musical and educational experiences defined the paths of current professional concertmasters in Brazil? What is the scope of their responsibilities as concertmaster? Lastly, what are the expectations of these concertmasters for the future of their own careers, of their Orchestras and of professional Brazilian symphony orchestras in general? After a systematic categorization, twenty-eight professional Brazilian symphony orchestras were identified. The concertmasters of fifteen of these twenty-eight orchestras were contacted with an invitation to participate in a recorded interview. Ultimately, the invitation was accepted by two current and three former professional concertmasters. Analysis of the information gathered through the interviews was further expanded by an investigation into the careers of 16 additional professional concertmasters from various countries who were cited in the present research but not personally interviewed. Several trends were revealed within the life paths and professional perspectives of the concertmasters. Of the five concertmasters interviewed in Brazil, four received musical training outside of South America during their formative years. All five serve or served as music educators in addition to their orchestral work: three at the university level and two with younger students. Only one of the five interviewees passed through a strictly traditional audition process in order to assume the position of concertmaster. Of the 21 professional concertmasters about whom data was collected (including the five interviewees), at least sixteen held the position of concertmaster several times before assuming the role in a prominent orchestra. Five of the 21 concertmasters (including two of the five interviewees) eventually branched into the realm of symphonic conducting, while at least twelve of the 21 did not. Seventeen are or were employed as music professors at the university level. All 21 of the violinists cited within the present research performed solo and/or chamber music regularly throughout their orchestral careers. Ultimately, the interviewees emphasized the following four characteristics as the basic requirements of effective concertmastership at the professional level: (1) technical ability, (2) two-way respect of colleagues, (3) natural leadership/firmness, and (4) a supportive relationship with the conductor.

Made available in DSpace on 2015-05-14T12:52:28Z (GMT). No. of bitstreams: 1 Arquivototal.pdf: 3367733 bytes, checksum: 6bf04a4853c4b58bb74f3893826aba70 (MD5) Previous issue date: 2011-08-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Playing an instrument is turning on muscular, affective and mental mechanisms that are closely related. Therefore, in a performance preparation, it is expected from the instrumentalist not just the understanding of the musical speech, but the assimilation and perfection of the motor patterns that will be part of the needed corporal action for the technical accomplishment of this speech as well. In this process, one of the goals of the instrumentalist is to become aware of tension points in their body that can potentially prevent a more free technical execution, looking for ways to minimize or eliminate them. According to the Bioenergetics Analysis, a psychotherapy approach created by Alexander Lowe in 1956, the muscle tensions are the result of emotional blocks, being created most of the times since childhood and developed throughout life. These tensions work as armours , which protect the individuals from experiences that could be painful and threatening, turning into an obstacle to the human being capacity to relate to their sensations and emotions and, consequently, of feeling free, whole and in contact with the world around them. Going beyond the investigation about human psyche that, before the middle of last century, focused mainly on mind exploration, the Bioenergetics takes the patients, through exercises, to reunite with their body, acquiring a sense of well-being and inner peace. Based on this knowledge and understanding that the violin student starts his instrument learning having already some muscle tensions due to emotional matters and that these tensions could hinder their musical expressivity on the same way they can interrupt his spontaneity in life, this work presents, analyses and discusses the contributions of Bioenergetics exercises to the development of the technical-expressive capacity of violin students, based on the application of exercises of this field to violinists during their formation process and performance. In order to do so, initially, questionnaires were applied and interviews with the participants of this research were conducted, collecting information about their physical condition and, more specifically, about their muscle tensions. Having this information, Biogenetics exercises, both in their original format or specifically adapted to violin learners, were applied to these participants throughout several meetings. The results of these exercises have been verified through participant observation and constant reports from the participants containing their own perceptions and sensations throughout this work. An interview was conducted two months after the research, according to which it was possible to conclude that most of the participants became more aware of their own body, emotions and sensations, both on their daily life and in the act of performance. Having also been effective in raising awareness and reducing several of the muscle tensions in the participants, the Bioenergetics exercises gave these individuals a looser body that is connected to the instrument, besides a deeper body-mind integration in the act of performance. And that has naturally facilitated their technical and expressive capacity. / Tocar um instrumento é acionar mecanismos musculares, afetivos e mentais, estando eles intimamente relacionados. Na preparação de uma performance, portanto, espera-se do instrumentista não apenas o entendimento do significado do discurso musical, mas também a assimilação e aperfeiçoamento de padrões motores que irão se constituir na ação corporal necessária para a realização técnica deste discurso. Nesse processo, uma das metas do instrumentista é se conscientizar dos pontos de tensão em seu corpo que potencialmente lhe impedem uma execução técnica mais livre, buscando então meios para minimizá-los ou mesmo eliminá-los. Segundo a Análise Bioenergética, abordagem psicoterápica criada por Alexander Lowen em 1956, as tensões musculares são decorrentes de bloqueios emocionais, sendo criadas na maioria das vezes desde a própria infância e desenvolvidas ao longo da vida. Essas tensões funcionam como couraças , que servem para proteger o indivíduo de experiências que possam vir a ser dolorosas e ameaçadoras, tornando-se um obstáculo à capacidade do ser humano de se entregar às sensações e emoções e conseqüentemente de se sentir livre, inteiro e em contato com o mundo à sua volta. Ultrapassando as investigações sobre a psique humana que, antes de meados do século passado, concentravam-se principalmente nas explorações da mente, a Bioenergética leva o paciente, através de exercícios, a reencontrar-se com seu corpo, adquirindo então, uma sensação de bem-estar e paz interior. Baseado nesse conhecimento e entendendo que o aluno de violino inicia o aprendizado de seu instrumento tendo já presentes algumas tensões musculares advindas de questões emocionais e que tais tensões poderiam dificultar sua expressividade na música da mesma forma que impedem sua espontaneidade na vida, este trabalho apresenta, analisa e discute contribuições da Bioenergética para o desenvolvimento da capacidade técnico-expressiva dos estudantes de violino, tendo como base a aplicação de exercícios desse campo no processo de formação e performance do violinista. Para isso, foram, inicialmente, aplicados questionários e realizadas entrevistas com os participantes da pesquisa, coletando informações principalmente sobre seu estado físico, mais especificamente no que se referia às suas tensões musculares. De posse destas informações, foram aplicados nesses participantes, durante vários encontros, exercícios da Bioenergética, tanto em seu formato original, como adaptados às especificidades do aprendizado violinístico. Os resultados desses exercícios foram sendo verificados através de observação participante e de constantes relatórios dos próprios participantes contendo suas percepções e sensações ao longo do trabalho. Uma entrevista final foi realizada após dois meses de pesquisa, onde foi possível concluir que a grande maioria dos participantes se encontrava mais consciente de seu corpo e de suas sensações e emoções, tanto em seu cotidiano, como no ato da performance. Tendo também sido eficazes na conscientização e diminuição de várias das tensões musculares dos participantes, os exercícios da Bioenergética possibilitaram a esses indivíduos um corpo mais solto e conectado ao instrumento, além de uma maior integração corpo-mente no ato da performance. E isso, naturalmente, facilitou sua capacidade tanto técnica quanto expressiva.

Made available in DSpace on 2015-05-14T12:52:37Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 4566769 bytes, checksum: d9acd3e725af5c1a5cd9a4125639edeb (MD5) Previous issue date: 2014-04-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This paper takes as its object of exegetical analysis, based on the translation from English to Portuguese, the treatise on the fundamental principles for violin, written by Leopold Mozart, first published in 1756. The Portuguese version was based on the English version made by Editha Knocker and edited in 1948 by the Oxford University Press. The translation into Portuguese brings the possibility of a careful and specific study of the treatise, making possible an effective and clear apprehension of the ideas about the music and the violin, proposed and supported by Leopold Mozart. The fundamental categories elaborated in that work are explained in a more substantive and understandable way, which constitutes the core of this project. That treatise is a work of undeniable historical relevance and, along with the treatise for flute by J. J. Quantz and the one for keyboard by C. P. E. Bach, is one of the most significant works of the genre. In his work, L. Mozart deals not only with the technique for the violin and musical styles, but also displays an honest concern with the musical training of instrumentalists. In his didacticism, leads the reader to study the characteristics of violinistic musical practice, as well as the string instruments with bow, from the eighteenth century to the present day. / O presente trabalho toma por objeto de análise exegética, a partir da tradução do inglês para o português, o Tratado sobre os princípios fundamentais para tocar violino escrito por Leopold Mozart, publicado pela primeira vez em 1756. A versão para o português foi feita a partir da tradução para o inglês realizada por Editha Knocker e publicada, em 1948, pela Oxford University Press. A versão para o português abriu a possibilidade de seu mapeamento cuidadoso e específico, fazendo ser mais clara e efetiva a apreensão do ideário musical e violinístico proposto e sustentado por Leopold Mozart e explicitando, em termos mais substantivos e compreensíveis, as categorias fundamentais elaboradas no Tratado e que constituem o núcleo central desse projeto. O referido tratado é obra de relevância histórica incontestável e, configura, ao lado do tratado para flauta escrito por J. J. Quantz, e ao de C. P. E. Bach, para teclado, como uma das mais expressivas obras do gênero. Na sua pena tratadista, L. Mozart discorre não apenas sobre a técnica do violino e estilos musicais, mas, também, apresenta franca preocupação com relação à formação musical dos instrumentistas. Em seu didatismo, leva o leitor a conhecer as características da prática musical violinística, bem como dos instrumentos de corda com arco, desde o século XVIII até os dias atuais.

The role of the first violinist in a professional symphony orchestra is rarely only to perform. The position of concertmaster, at the professional level, generally constitutes a wide range of responsibilities and activities, not necessarily restricted to the realm of music-making. The present research utilized interviews with five concertmasters of professional Brazilian symphony orchestras in order to respond to the following questions: What is the role of the professional concertmaster? What musical and educational experiences defined the paths of current professional concertmasters in Brazil? What is the scope of their responsibilities as concertmaster? Lastly, what are the expectations of these concertmasters for the future of their own careers, of their Orchestras and of professional Brazilian symphony orchestras in general? After a systematic categorization, twenty-eight professional Brazilian symphony orchestras were identified. The concertmasters of fifteen of these twenty-eight orchestras were contacted with an invitation to participate in a recorded interview. Ultimately, the invitation was accepted by two current and three former professional concertmasters. Analysis of the information gathered through the interviews was further expanded by an investigation into the careers of 16 additional professional concertmasters from various countries who were cited in the present research but not personally interviewed. Several trends were revealed within the life paths and professional perspectives of the concertmasters. Of the five concertmasters interviewed in Brazil, four received musical training outside of South America during their formative years. All five serve or served as music educators in addition to their orchestral work: three at the university level and two with younger students. Only one of the five interviewees passed through a strictly traditional audition process in order to assume the position of concertmaster. Of the 21 professional concertmasters about whom data was collected (including the five interviewees), at least sixteen held the position of concertmaster several times before assuming the role in a prominent orchestra. Five of the 21 concertmasters (including two of the five interviewees) eventually branched into the realm of symphonic conducting, while at least twelve of the 21 did not. Seventeen are or were employed as music professors at the university level. All 21 of the violinists cited within the present research performed solo and/or chamber music regularly throughout their orchestral careers. Ultimately, the interviewees emphasized the following four characteristics as the basic requirements of effective concertmastership at the professional level: (1) technical ability, (2) two-way respect of colleagues, (3) natural leadership/firmness, and (4) a supportive relationship with the conductor.

A presente pesquisa tem como objetivo investigar estratégias de estudo para a parte de violino da Primeira Sonata-Fantasia, Désespérance, para violino e piano de Heitor Villa- Lobos. A prática é o caminho que o instrumentista usa para desenvolver habilidades como ritmo e afinação, articulação e demais demandas expressivas da obra. O foco da prática instrumental está no uso de estratégias adequadas para vencer aspectos técnicos de determinados repertórios. Este trabalho expõe estratégias de estudo baseadas nas propostas dos professores de violino Robert Gerle e Simon Fischer nos livros: The Art of Practising The Violin e The Art of Bowing Practice, do primeiro, e nos livros Basics e Practice do último. As estratégias apresentadas são exercícios específicos, utilizados pela autora, para o desenvolvimento dos aspectos técnicos contidos na Sonata-Fantasia tais como arpejos e escalas com andamentos rápidos, cordas duplas, acordes de três ou quatro notas e trechos de harmônicos artificiais. / This research investigates violin practice strategies applicable to Heitor Villa-Lobos‟s Sonata-Fantasy No. 1, Désespérance, for Violin and Piano. Instrumentalists develop the abilities needed to execute various instrumental techniques, through specific practice methods. Thus, the focus of instrumental practice is the use of appropriate strategies to overcome technical difficulties within the studied repertoire. Departing from the extensive pedagogical works of violinists Robert Gerle and Simon Fischer, this article presents the violin practice strategies applied by the author to develop the technical abilities required to perform the Sonata-Fantasia, such as: arpeggios, scales in fast tempo, double-stops, chords of three and four notes and artificial harmonics.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-03-12T20:35:47Z No. of bitstreams: 1 MarianaDeMoraesHolschuh_DISSERT.pdf: 10887608 bytes, checksum: 0c71f63b5692259d7196bf9d740c3e7c (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-03-19T11:32:17Z (GMT) No. of bitstreams: 1 MarianaDeMoraesHolschuh_DISSERT.pdf: 10887608 bytes, checksum: 0c71f63b5692259d7196bf9d740c3e7c (MD5) / Made available in DSpace on 2018-03-19T11:32:17Z (GMT). No. of bitstreams: 1 MarianaDeMoraesHolschuh_DISSERT.pdf: 10887608 bytes, checksum: 0c71f63b5692259d7196bf9d740c3e7c (MD5) Previous issue date: 2017-12-05 / Este Trabalho apresenta uma pesquisa art?stica sobre a interpreta??o de O Caldeir?o dos esquecidos para violino s? de Danilo Guanais, em estilo Armorial; investiga, tamb?m, a intera??o compositor-int?rprete durante sua composi??o e prepara??o para a performance. Para isto, foram utilizadas ferramentas metodol?gicas como revis?o bibliogr?fica e fonogr?fica, reuni?es, entrevista e an?lise da partitura final, visando ? performance. Desta Pesquisa resultaram: uma proposta interpretativa constru?da em contato direto com o compositor - que pode servir como primeiro par?metro para o in?cio de uma tradi??o de interpreta??o; uma edi??o da partitura com dedilhados e arcadas; e a estreia da Pe?a com registro audiovisual. A an?lise dos dados sobre a intera??o compositor-int?rprete permitiu concluir que o processo colaborativo foi ben?fico para ambas as partes: por um lado, houve melhoria na escrita da Obra, que se tornou mais idiom?tica; por outro, o contato direto com o compositor trouxe importante contribui??o ? constru??o da proposta interpretativa. A revis?o bibliogr?fica, a an?lise da partitura e a entrevista possibilitaram estabelecer que Danilo Guanais utiliza a est?tica Armorial de maneira pessoal, aliando-a a t?cnicas contempor?neas de composi??o, com frequente combina??o de modalismo, tonalismo e serialismo. / This work presents an artistic research on the interpretation of O Caldeir?o dos esquecidos for solo violin by Danilo Guanais, written in northeastern brazilian musical style, called Armorial. It also reports on the collaboration between performer and composer during the piece's composition and it?s preparation for performance. Methodological tools as bibliographic and phonographic review, face-to-face meetings, interview and score analysis were used. From this research resulted: an interpretation of the piece, developed in direct contact with the composer - that may become a first parameter, beginning an interpretation tradition; the score edition with bowings and fingerings; the premi?re and a record of the piece. Data analysis on the composer-performer collaboration concluded that the collaborative process was beneficial for both parties: on one hand, the composition was improved and became more idiomatic; on the other hand, the direct contact with the composer contributed substantially to the construction of the piece?s interpretation. Bibliographic review, score analysis, and interview showed that Danilo Guanais uses Armorial aesthetics in a personal way, combining it with contemporary techniques of composition. Modalism, tonalism and serialism combination is often used.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-10-05T19:07:25Z No. of bitstreams: 1 AnaPaulaGomesDeSouza_DISSERT.pdf: 9202618 bytes, checksum: d0e9135cf5982be10cb95fd9f5ed5964 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-10-17T20:39:23Z (GMT) No. of bitstreams: 1 AnaPaulaGomesDeSouza_DISSERT.pdf: 9202618 bytes, checksum: d0e9135cf5982be10cb95fd9f5ed5964 (MD5) / Made available in DSpace on 2017-10-17T20:39:23Z (GMT). No. of bitstreams: 1 AnaPaulaGomesDeSouza_DISSERT.pdf: 9202618 bytes, checksum: d0e9135cf5982be10cb95fd9f5ed5964 (MD5) Previous issue date: 2017-06-21 / O trabalho composicional de Ernst Mahle, compositor alem?o, naturalizado brasileiro, torna-se peculiar por, originalmente, ser voltado para pr?tica pedag?gica. Suas composi??es foram, inicialmente, criadas a partir de uma busca por um repert?rio acess?vel dentro do desenvolvimento t?cnico dos alunos de in?meros instrumentos. Como maestro e professor, sendo um dos fundadores da Escola de M?sica de Piracicaba / SP4, atual cidade onde reside, inseriu em suas obras os elementos da m?sica folcl?rica brasileira, em paralelo ?s influ?ncias composicionais de Bart?k, que tamb?m se utilizava de caracter?sticas folcl?ricas em suas obras. No per?odo entre 1955 a 1980, Mahle comp?s Sonatas e Sonatinas para violino, das quais este Artigo apresenta a Sonata 1980 em uma abordagem interpretativa, visando a constru??o de uma performance, atrav?s de reflex?es sobre a m?sica contempor?nea e m?sica contempor?nea brasileira. A partir da contextualiza??o da M?sica atual, iniciamos uma abordagem sobre a constru??o da performance e as etapas da execu??o nos conceitos t?cnico, est?tico e filos?fico como tamb?m a reflex?o sobre a pr?tica da interpreta??o. A experi?ncia biogr?fica com o compositor ? compartilhada atrav?s de relatos pessoais, ap?s entrevistas, resultando em uma visita a sua resid?ncia na cidade de Piracicaba / SP no dia 8 de novembro de 2015. A matura??o do desenvolvimento da pesquisa resultou em uma constru??o perform?tica, entre sugest?es t?cnicas e interpretativas para uma boa execu??o, auxiliando a reflex?o sobre a valoriza??o do repert?rio contempor?neo de pe?as brasileiras para violino ainda pouco abordadas em recitais e salas de concertos. / The compositional work of Ernst Mahle, german composer, naturalized Brazilian, becomes peculiar by original being turned to pedagogical practice. His compositions were initially created from the search for an accessible repertoire within the technical development of the students of numerous instruments. As a teacher and conductor, being one of the founders of the School of Music of Piracicaba / SP5, the present city where he reside, include in his works the elements of brazilian folk music, in parallel with the compositional influences of Bart?k, who also use folkloric characteristics in your works. In the period between 1955 and 1980, Mahle composed Sonatas and Sonatinas for violin, of which this article presents the Sonata 1980 in an interpretative approach to construction of a performance, through reflections on contemporary music and contemporary brazilian music. From the contextualisation of the current music, it begins an approach on the construction of the performance and as stages of the execution in the technical, aesthetic and philosophical concepts, as well as a reflection on the practice of the interpretation. The biographical experience with the composer and shared through reports, post-interviews, resulting in a visit to his residence in the city of Piracicaba / SP on November 8, 2015. A maturation of this research development resulted in a performance construction, between technical and interpretative suggestions for a good performance, assisting a reflection on an appreciation of the contemporary repertoire of brazilian violin pieces not yet covered in recitals and concert halls.

The role of the first violinist in a professional symphony orchestra is rarely only to perform. The position of concertmaster, at the professional level, generally constitutes a wide range of responsibilities and activities, not necessarily restricted to the realm of music-making. The present research utilized interviews with five concertmasters of professional Brazilian symphony orchestras in order to respond to the following questions: What is the role of the professional concertmaster? What musical and educational experiences defined the paths of current professional concertmasters in Brazil? What is the scope of their responsibilities as concertmaster? Lastly, what are the expectations of these concertmasters for the future of their own careers, of their Orchestras and of professional Brazilian symphony orchestras in general? After a systematic categorization, twenty-eight professional Brazilian symphony orchestras were identified. The concertmasters of fifteen of these twenty-eight orchestras were contacted with an invitation to participate in a recorded interview. Ultimately, the invitation was accepted by two current and three former professional concertmasters. Analysis of the information gathered through the interviews was further expanded by an investigation into the careers of 16 additional professional concertmasters from various countries who were cited in the present research but not personally interviewed. Several trends were revealed within the life paths and professional perspectives of the concertmasters. Of the five concertmasters interviewed in Brazil, four received musical training outside of South America during their formative years. All five serve or served as music educators in addition to their orchestral work: three at the university level and two with younger students. Only one of the five interviewees passed through a strictly traditional audition process in order to assume the position of concertmaster. Of the 21 professional concertmasters about whom data was collected (including the five interviewees), at least sixteen held the position of concertmaster several times before assuming the role in a prominent orchestra. Five of the 21 concertmasters (including two of the five interviewees) eventually branched into the realm of symphonic conducting, while at least twelve of the 21 did not. Seventeen are or were employed as music professors at the university level. All 21 of the violinists cited within the present research performed solo and/or chamber music regularly throughout their orchestral careers. Ultimately, the interviewees emphasized the following four characteristics as the basic requirements of effective concertmastership at the professional level: (1) technical ability, (2) two-way respect of colleagues, (3) natural leadership/firmness, and (4) a supportive relationship with the conductor.