Submitted by Rosivalda Pereira (mrs.pereira@ufma.br) on 2017-08-22T18:02:33Z No. of bitstreams: 1 DiorgenesTorres.pdf: 4899348 bytes, checksum: 3345fe53d538fb6b70d16529a8e2c4ee (MD5) / Made available in DSpace on 2017-08-22T18:02:33Z (GMT). No. of bitstreams: 1 DiorgenesTorres.pdf: 4899348 bytes, checksum: 3345fe53d538fb6b70d16529a8e2c4ee (MD5) Previous issue date: 2016-07-19 / This research was made with students from the Maranhão’s State Music School and it investigates about using arpeggios (triads and fourths) on melodic improvisation like being a base of a methodological proceeding to be suggested for the teaching of the subject Improvisation I in the technical course of this school. It was realized two videos recording filming and two audio recording in what the students presented his knowledge about music improvisation before and after the systematic studying from the theoretical and practice contents suggested in this research. After the confront of those two moments from a sample of students extracted from the whole group of participants students, it was made some analysis and considerations about how the improvisation teaching happened in the music school and also the possible benefits that this methodological proceeding with the using of arpeggios could bring to the teaching of the subject. / Esta pesquisa efetuada com alunos da Escola de Música do Estado do Maranhão – EMEM investiga o uso de arpejos (tríades e tétrades) na improvisação melódica, como base de um procedimento metodológico a ser sugerido para o ensino da disciplina Improvisação I do curso técnico dessa escola. Foram realizadas duas filmagens de vídeo e duas gravações de áudio em que os alunos apresentaram seus conhecimentos em improvisações antes e depois do estudo sistemático dos conteúdos teóricos e práticos sugeridos nesta pesquisa. Após o confronto desses dois momentos de um grupo amostra extraído do total de alunos participantes, são feitas análises e considerações sobre como o ensino de improvisação acontecia na escola bem como os possíveis benefícios que o procedimento metodológico com o emprego de arpejos utilizado poderá trazer para o ensino da disciplina.

abstract: The legacy of the great double bassist and pedagogue Joseph Prunner (1886-1969) includes his scale and arpeggio exercise book, Progressive Studies for the Double Bass, composed in 1955. Progressive Studies was originally written for Prunner's students at the Bucharest Conservatoire and was not intended for a wide publication. In the work Prunner presents major and harmonic and melodic minor scales that are performed in one octave and then extended diatonically through all their modes, progressing through this pattern for three octaves, followed by a series of arpeggio exercises. These exercises are based on a modernized fingering system and are offered in the traditional positions and in what Prunner called "Fixed-Position" scales. A series of chromatic scale exercises are also included that follow the template of the major and minor scales. The study at hand is a revision and expansion of Prunner's work. The edition presented here intends to preserve the information that Prunner provided, fix the errors made in editing, and expand the study greatly by increasing the range of the exercises, providing more arpeggio exercises, creating melodic and harmonic minor "Fixed-Position" scales and arpeggio exercises, and including the study of double-stops. In support of the revised and updated version of Progressive Studies, this study includes a biography of Joseph Prunner and a summary of the importance of the type of scale and arpeggio practice the collection of exercises supports. An explanation of the revisions made to Prunner's work and recommendations for using the exercises also precede the new edition. / Dissertation/Thesis / D.M.A. Music 2012

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2017-02-17T16:33:44Z No. of bitstreams: 2 Dissertação - Almir Júnio Pessoa - 2016.pdf: 4318212 bytes, checksum: 068b26d251cc79bde9c837320a2d5b43 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-02-20T12:02:42Z (GMT) No. of bitstreams: 2 Dissertação - Almir Júnio Pessoa - 2016.pdf: 4318212 bytes, checksum: 068b26d251cc79bde9c837320a2d5b43 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-02-20T12:02:42Z (GMT). No. of bitstreams: 2 Dissertação - Almir Júnio Pessoa - 2016.pdf: 4318212 bytes, checksum: 068b26d251cc79bde9c837320a2d5b43 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-12-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work is related to improvisation in the brazilian ten strings guitar with open tuning (Cebolão), using as a case study and application the rhythm (cateretê) in music Vide Vida Marvada, by Rolando Boldrin. Because I have not yet found specific material for improvisation in this instrument, I have raised questions about the existence and form of this practice. My hypothesis is that, with a method suitable to the instrument and its particularities, which includes the study of scales and arpeggios, the student shortens the way in the realization of different pieces, facilitates the immediate transposition of songs to other tones and fosters basic knowledge to improvise . The objective of this work is to investigate the processes of improvisation for viola, starting from scales, arpeggios and rhythmic / melodic models. The methodology used was to listen and to transcribe elements of the common practice of diverse violeiros and to extract the basic technique for its construction. I started with authors who deal with improvisation in a general way (BENSON, 2003), idiomatics (ALVIN and ASSIS, 2000), and authors dealing specifically with the instrument and the like (VILELA, 2013) . The results were the confirmation of the hypothesis raised and the construction of didactic material for brazilian ten strings guitar with cebolão tuning, besides the evidence that improvisation in the traditional context not only exists, but also in a particular way, more associated with prosody Rhythm, and that the choice of tonality, within the described tuning influences directly in its practice. / Esse trabalho diz respeito a improvisação na viola caipira com afinação cebolão, utilizando como estudo de caso e aplicação o cateretê Vide Vida Marvada, de Rolando Boldrin. Por não ter encontrado até a presente data, material específico para improvisação na viola, levantei questões sobre a existência e a forma dessa prática. Minha hipótese é de que, com um método adequado ao instrumento e suas particularidades, que abarque o estudo de escalas e arpejos, o estudante encurta caminho na realização de peças diversas, facilita a transposição imediata de músicas para outros tons e fomenta conhecimento básico para improvisar. O objetivo deste trabalho é investigação dos processos de improvisação para viola, partindo de escalas, arpejos e modelos rítmico/melódicos. A metodologia utilizada foi de ouvir e transcrever elementos da prática comum de violeiros diversos e extrair a técnica básica para a sua construção. Embasei-me em autores que dizem respeito a improvisação de uma maneira geral (BENSON, 2003), idiomatismo (ALVIN e ASSIS, 2000), e autores que tratam especificamente do instrumento viola e afins (VILELA, 2013), (CORRÊA, 2000). Os resultados foram a confirmação da hipótese levantada e a construção de material didático para viola com afinação cebolão, além da evidenciação de que a improvisação no contexto violeiro tradicional não só existe, como é recorrente, entretanto de uma maneira particular, mais associada a prosódia ao ritmo, e que a escolha da tonalidade, dentro da afinação descrita influencia diretamente na sua prática.