In the Midst of Life is a highly-virtuosic concertino for solo guitarist and chamber orchestra. The piece explores variations of makamic intervallic structures—complex melody types and modes in traditional Middle Eastern Music—and builds the formal architecture and the pitch material upon makamic textural and melodic relations. / text

Fundamental Dissonance, an original composition scored for alto saxophone and sinfonietta, explores the concept of dissonance not only in the traditional musical sense related to tonality, but as a general principle indispensable for variety and creation. The particular perspective of this concept that can be found in the early work of the Hungarian philosopher, aesthetician, and literary historian Georg Lukács has given a specific direction to my creative process. In one of his first writings, The Theory of the Novel (1914), Lukács presents the idea of dissonance in the following terms: “Every form is the resolution of a fundamental dissonance of existence.” Here Lukács refers to a general conception of form, which includes the artistic context. A couple of texts about Lukács contribute to a thorough understanding of this idea and help to give shape to my interpretation of this sentence. Resolution is the key term in the sentence and mediates between form, what will be created, and dissonance, what needs to be resolved. In this way dissonance is presented as a problem, a question, or what others have also called a knot. It is fundamental because of its previous condition to existence. Without unrest, unity keeps things in a state of equilibrium, inhibiting movement or variety. Instead, disunity, or dissonance, permits change and creation, hence existence. There is a strong link between creation and dissonance. These ideas, and the multiple interpretations of dissonance in the musical context, influenced the original concepts used in Fundamental Dissonance and guided the compositional process. The first, and perhaps more evident manifestation of dissonance is the use of specific intervals as foundations of the musical language in the piece. Uses of the set class (012); with variants (013), (023), or (024) obtained by the expansion of (01); appear not only in the melodic and harmonic aspects but also at the structural level. Some scattered uses of microtonality are also part of this approach. In opposition, and as a reference to its genesis, the “equilibrium before its existence” is represented with unisons, adding contrast and variety to the previous intervals. Contrast is the second element I used to represent Lukács’s idea of dissonance. I have included references to contrasting styles and genres, short passages in tonal chords or short melodic cells with tonal character. These traditionally consonant elements play a contrasting –i.e., dissonant- role because of the general dissonant language in which they have been placed. Other compositional aspects that serve as contrast have to do with the opposition of densities and textures; the highly marked differences between the two main themes; and the use of the alto saxophone, an instrument traditionally not belonging to the sinfonietta, as the soloist. Extramusical elements have been used as general principles in the creative process. The saxophone adopts a role of leadership from the very beginning of the piece, presenting its ideas in a monologue style. Some instruments follow the soloist while others oppose, creating a clash of forces that ultimately generates more dissonance.

Jacques Castérède's works for brass are monumental and demand extreme agility from the performers. Many brass players are familiar with the Sonata for Trombone, but Castérède's trumpet repertoire has not been as thoroughly considered. Due to the lack of scholarly works and recordings of Jacques Castérède trumpet repertoire, a study is necessary to aid its performance. The study is based on performance analysis and interviews with the composer. The first chapter provides information on the composer's life. The second and third chapters are performance analysis of Brêves Rencontres and Concertino for Trumpet and Trombone. These two chapters also discuss rehearsal technique and sound concept. The performance guide takes place in chapter 4. This chapter gives specific indications on articulation, range and mute choice.

The purpose of this study is to provide historical information, analytical material, and to discuss performance problems and teaching techniques relative to the Concertino da Camera by Jacques Ibert. A number of articles have been written concerning the premiere date and the necessity for the saxophonist to perform certain passages in the extreme high register of the instrument. The known arguments will be presented and discussed. The main purpose of this study is to examine and offer solutions to challenging performance situations which both teachers and performers encounter during study of the Concertino. A Technical Problems List was constructed and possible solutions are discussed based upon a survey of professional saxophonists and the performing experience of the researcher. The survey results have proved invaluable and many references are made to the practice methods of the survey respondents. The Concertino da Camera was selected for this study because of its musical value, frequency of performance, level of difficulty and appropriateness for educational use. In a survey conducted in 1973 by Cecil Gold, 120 professional saxophonists were requested to list examples of repertoire which they have students perform. The Concertino was listed as the fourth most frequently chosen work at the undergraduate level and the first choice at the graduate level, and is recognized as one of the most musically rewarding works in the solo literature for the saxophone. Two texts by Teal and books by Farkas and Gold served as primary reference material as the researcher identified and offered solutions to performance challenges during construction of the performance analysis. Two books, by Pottle and Stauffer, which discuss the intonation problems of wind instruments, were also helpful. In tracing the history of the Concertino, the researcher found books by Hemke and Rousseau, and articles by Rascher to be helpful. The Concertino da Camera, written in 1935, is representative of the most prolific period of Ibert's artistic production. In Chapter 1, this period and the history of the Concertino are examines. A discussion of the formal structure followed by a description of the music will be given in Chapter 2. Problems of technique, intonation, tonal matching, articulation, rhythm, range and special fingerings will be detailed in Chapter 3. The writer feels that the Concertino da Camera is an outstanding composition which is deserving of reputable performances. It is hoped that the results of the research will benefit the educator and performer of this challenging composition.

José Siqueira is one of the most influential and productive Brazilian composers of the twentieth century. He crafted a compositional system in 1941 which he called the Trimodal System, based on the three most present scalar modes in the Brazilian Northeastern folkloric tradition. As a composer of nationalist impulse, the process of developing the system was inspired by a desire to create a music that truly represented Brazilian culture. This originated what can be called his Trimodal compositional period, characteristics of which would persevere through his future compositions. This research analyzes Siqueira’s Concertino for Violin and Chamber Orchestra (1972) through the lens of his system. In his book, “O Sistema Modal da Música Brasileira,” the composer does not mention any of his concertinos as examples of pieces in which he utilized the Trimodal System. This study, however, observes that the System was embedded in his compositional style, even though he did not overtly make this claim. The examination of the piece also utilizes set-theory and pitch-class centricity in a post- tonal analytical approach. Pitch-class coherence is sought through the methodology developed by clarinetist vii and professor Aynara Silva (2013). In her research she listed 45 prominent pitch-class sets in Siqueira’s system. Thus, this present research aims to provoke a reflection regarding the placement of the violin concertino within the system, opening a new field of study for additional scholars to further investigate his concertinos. In addition to the analytical viewpoint, this dissertation provides guidance on the violinistic aspects of the piece, incorporating relevant elements from the violin technique found in the piece. As fruit of this research, this work includes the first revised edition of the concertino’s piano reduction and the violin part, working directly from Siqueira’s autograph. This edition will make the piece more accessible to players, possibly resulting in it being played more often, and in turn, being known by the general public as well as to music connoisseurs.

O presente trabalho trata da investigação dos procedimentos composicionais utilizados no Concertino para Clarineta, de Francisco Mignone, por meio da identificação e da comparação das diversas fontes da obra em diálogo com a \"tradição oral\". Tem como objetivo elucidar questões técnicas observadas na partitura orquestral manuscrita e suas possíveis resoluções em virtude da performance. Para tanto, desenvolve conteúdo com vistas à produção de uma edição crítica da obra / The present work deals with the investigation of compositional procedures used in the Concertino for Clarinet by Francisco Mignone through the identification and comparison of different sources of the work in dialogue with the \"oral tradition\". Aims to clarify technical issues observed in handwritten orchestral score and their possible resolutions to the performance. For that, develops content in order to produce a critical edition of the work.

O presente trabalho trata da investigação dos procedimentos composicionais utilizados no Concertino para Clarineta, de Francisco Mignone, por meio da identificação e da comparação das diversas fontes da obra em diálogo com a \"tradição oral\". Tem como objetivo elucidar questões técnicas observadas na partitura orquestral manuscrita e suas possíveis resoluções em virtude da performance. Para tanto, desenvolve conteúdo com vistas à produção de uma edição crítica da obra / The present work deals with the investigation of compositional procedures used in the Concertino for Clarinet by Francisco Mignone through the identification and comparison of different sources of the work in dialogue with the \"oral tradition\". Aims to clarify technical issues observed in handwritten orchestral score and their possible resolutions to the performance. For that, develops content in order to produce a critical edition of the work.

Made available in DSpace on 2016-12-08T17:06:49Z (GMT). No. of bitstreams: 1 anapaula.pdf: 5926588 bytes, checksum: 440bf9c4222b3522012031c9818d5fcf (MD5) Previous issue date: 2009-09-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation consists in a report of experience on the construction of the interpretation of the Concertino para Piano e Orquestra de Cordas by Ronaldo Miranda. It was organized in three chapters. The first chapter is an historical frame about the composer and his historical context. The second chapter consists in the history of the peace and a survey on aspects of musical analysis. The third chapter is a study that brings thoughts from the researcher in a participant observation experience of the piece s performance / Este trabalho consiste em um conjunto de estudos que funcionam como relatos de uma experiência de construção da interpretação do Concertino para Piano e Orquestra de Cordas de Ronaldo Miranda. Foi organizado em três capítulos sendo o primeiro uma moldura histórica tratando sobre o compositor. Do segundo capítulo consta um histórico da peça e um levantamento de aspectos de análise musical. O terceiro capítulo é um estudo que traz reflexões da pesquisadora, a partir de uma experiência de observação participante na execução da peça

Richard Strauss's Duett-Concertino for Clarinet and Bassoon with Strings and Harp, AV 147 was one of the last works written by this celebrated composer. This double concerto has been largely unrecognized by performers and scholars until a recent surge in recorded performances. Some factors that hinder performances of the Duett-Concertino include unusual scoring and difficult rhythmic passages, as well as a lack of acknowledgement or understanding of the programmatic elements represented in the music. Sketches and letters show that the Duett-Concertino was inspired by a fairytale, which may have been the popular Beauty and the Beast. The programmatic analysis in this study examines the musical gestures of the piece, which, when combined with the cues provided in the sketches and letters, construct a musical interpretation of the fairytale. Recognition of the extra-musical features of the Duett-Concertino is essential for an effective performance and, in turn, creates additional performance possibilities such as narration and choreography.

Guerra-Peixe, cuja obra “Concertino para violino e Orquestra de Câmara” é abordada nesta pesquisa, contribuiu para a formulação dos caminhos estéticos e estilísticos do Armorial. O Movimento Armorial promoveu a recriação em diversas artes através da modelagem dos elementos das manifestações populares nordestinas. Na música o intuito era o de criar a Música Erudita Nordestina. Visando uma interpretação embasada na estética e no estilo do Movimento Armorial, foi feita uma análise evidenciando os elementos da música popular nordestina presentes na obra, uma pesquisa fonográfica e experimentações com o instrumento rabeca. Esta abordagem serviu de base para consolidar a adaptação timbrística da sonoridade sugerida para a execução na proposta interpretativa que esta pesquisa apresenta. / Guerra-Peixe, wrote the “Concertino for violin and chamber orchestra” during his involvement with the Movimento Armorial. This aesthetic movement in northeastern Brazil strived to recreate the tenets of learned art through the use of popular manifestations. This study presents the Concertino’s performance preparation within the Armorial canon. Analysis of the popular rhythms present in the work as well as recording comparisons and experiments with the Rabeca were the basis for tone modeling in the interpretive decisions presented in this research.