The Fourteen Seréstas of Heitor Villa-Lobos comprise a group of songs that expresses Villa-Lobos's compositional technique for the voice. These songs are challenging as a topic because not much historical or analytical research has been done on them. I approach the topic by providing historical background on the modinha and how it relates to the serésta. This is followed by a descriptive analysis in the order of the set, which includes musical examples, chart diagrams, and comparisons of the seréstas to other works. I hope to have contributed valuable information to the research of these songs since Villa-Lobos wrote over ninety solo vocal songs which still await analysis and discussion. This thesis is a contribution toward narrowing this gap.

A presente dissertação apresenta uma reflexão sobre o ensino coletivo de instrumentos de cordas, com foco direcionado ao violino, através da crítica comparativa dos principais métodos de ensino coletivo desse instrumento; e aponta caminhos para a elaboração de uma nova metodologia coletiva baseada em melodias do folclore brasileiro. A primeira parte do presente trabalho apresenta uma análise histórica do surgimento do ensino coletivo de instrumentos de cordas nos EUA e Inglaterra; aborda paralelamente parte da história musical brasileira, com o advento do canto orfeônico nas escolas públicas sob direção de Heitor Villa-Lobos, e o início dessa metodologia no Brasil. Na segunda parte é feita uma análise crítica e comparativa dos mais importantes métodos de ensino coletivo e dos conteúdos programáticos das principais escolas onde são aplicados. Segue uma análise do conteúdo técnico de métodos propostos por três dissertações de Mestrado sobre o assunto, como forma de amostragem da produção de métodos atuais. A parte final desta pesquisa propõe rumos para uma nova metodologia de ensino coletivo direcionado no violino baseado no uso de melodias do folclore brasileiro, retiradas do Guia Prático do Canto Orfeônico de Heitor Villa-Lobos. / The following Master dissertation presents a reflection about the teaching of bowed string instruments in group classes with focus on violin. Its analysis is based on the critique of comparative main methods of string class teaching. The objective is to elaborate a new methodology for string classes based on Brazilian folk music melodies. The first part of this work comprehends a historical analysis of the beginnings of string class teaching in the USA and England and at the same time it studies part of Brazilian music history; the part that concerns the beginning of collective string teaching due to the advent of Orff-like teaching of songs in the public schools under the direction of Heitor Villa-Lobos. The second part critiques and compares both the main methods of group teaching and the programmatic contents of the most important schools where they are applied. In addition, three Master research theses are analyzed with views on their technical content of their teaching methods. This analysis serves as a sample of current methods. This work concludes with a proposal of a new methodology for violin string class teaching with basis on the usage of Brazilian folk melodies, taken from the Guia Prático do Canto Orfeônico by Heitor Villa-Lobos.

A presente dissertação apresenta uma reflexão sobre o ensino coletivo de instrumentos de cordas, com foco direcionado ao violino, através da crítica comparativa dos principais métodos de ensino coletivo desse instrumento; e aponta caminhos para a elaboração de uma nova metodologia coletiva baseada em melodias do folclore brasileiro. A primeira parte do presente trabalho apresenta uma análise histórica do surgimento do ensino coletivo de instrumentos de cordas nos EUA e Inglaterra; aborda paralelamente parte da história musical brasileira, com o advento do canto orfeônico nas escolas públicas sob direção de Heitor Villa-Lobos, e o início dessa metodologia no Brasil. Na segunda parte é feita uma análise crítica e comparativa dos mais importantes métodos de ensino coletivo e dos conteúdos programáticos das principais escolas onde são aplicados. Segue uma análise do conteúdo técnico de métodos propostos por três dissertações de Mestrado sobre o assunto, como forma de amostragem da produção de métodos atuais. A parte final desta pesquisa propõe rumos para uma nova metodologia de ensino coletivo direcionado no violino baseado no uso de melodias do folclore brasileiro, retiradas do Guia Prático do Canto Orfeônico de Heitor Villa-Lobos. / The following Master dissertation presents a reflection about the teaching of bowed string instruments in group classes with focus on violin. Its analysis is based on the critique of comparative main methods of string class teaching. The objective is to elaborate a new methodology for string classes based on Brazilian folk music melodies. The first part of this work comprehends a historical analysis of the beginnings of string class teaching in the USA and England and at the same time it studies part of Brazilian music history; the part that concerns the beginning of collective string teaching due to the advent of Orff-like teaching of songs in the public schools under the direction of Heitor Villa-Lobos. The second part critiques and compares both the main methods of group teaching and the programmatic contents of the most important schools where they are applied. In addition, three Master research theses are analyzed with views on their technical content of their teaching methods. This analysis serves as a sample of current methods. This work concludes with a proposal of a new methodology for violin string class teaching with basis on the usage of Brazilian folk melodies, taken from the Guia Prático do Canto Orfeônico by Heitor Villa-Lobos.

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Includes bibliographical references (leaves 326-343). Also available in an electronic version.

This study of Villa-Lobos’s Bachianas Brasileiras No. 9 aims at gaining insight into the decision-making processes of translating a score into a musical performance. Chapter I presents a discussion of selected issues related to interpretative analysis. Chapter II is an overview of the approaches to recording comparison deemed relevant to the present study. Chapter III is a comparative study of the vocal and string versions of Bachianas Brasileiras No. 9, while Chapter IV offers a structural analysis of the work. Chapter V compares four recordings: the composer’s own with the Orchestre National de La Radiodiffusion Française—EMI 7243 5 66964 2 6; Odaline de la Martinez and the BBC Singers, LNT 102; Michael Tilson Thomas and the New World Symphony —RCA 09026-68538-2; and my own CD, Construção, Orquestra de Câmara Theatro São Pedro- Limited Edition (live recording made on December 11, 1995 in Bayreuth, Germany). This comparison utilizes data obtained with the software Tempo. The tabulation of these results is shown in graphs that compare how matters of tempo flexibility affect each performance. This multi-faceted study shows that although painstaking analysis can lead to insightful solutions, the fleeting nature of musical performance requires an open mind and imagination to deal with the often contradictory directives of the score.

ix, 82 p. : music / While musical styles from various parts of the world intermingled in the early twentieth century, Heitor Villa-Lobos sought to promote Brazilian music throughout the classical music world. Instead of presenting only Brazilian styles, Villa-Lobos, in an attempt to showcase the international adaptability of Brazil's musical culture, developed a style all his own, which was a combination of his classical training in the western tradition and his first-hand experience with both Brazilian popular and Native Brazilian music. Much of his music manifests these influences, but his music for solo guitar, Brazil's national instrument, also features new techniques and timbres. This thesis examines the interaction of the various styles and techniques used in his <italic>Cinq Preludes</italic> for solo guitar. / Committee in charge: Jack Boss, Chairperson; Steven Rodgers, Member; David Case, Member

This study of Villa-Lobos’s Bachianas Brasileiras No. 9 aims at gaining insight into the decision-making processes of translating a score into a musical performance. Chapter I presents a discussion of selected issues related to interpretative analysis. Chapter II is an overview of the approaches to recording comparison deemed relevant to the present study. Chapter III is a comparative study of the vocal and string versions of Bachianas Brasileiras No. 9, while Chapter IV offers a structural analysis of the work. Chapter V compares four recordings: the composer’s own with the Orchestre National de La Radiodiffusion Française—EMI 7243 5 66964 2 6; Odaline de la Martinez and the BBC Singers, LNT 102; Michael Tilson Thomas and the New World Symphony —RCA 09026-68538-2; and my own CD, Construção, Orquestra de Câmara Theatro São Pedro- Limited Edition (live recording made on December 11, 1995 in Bayreuth, Germany). This comparison utilizes data obtained with the software Tempo. The tabulation of these results is shown in graphs that compare how matters of tempo flexibility affect each performance. This multi-faceted study shows that although painstaking analysis can lead to insightful solutions, the fleeting nature of musical performance requires an open mind and imagination to deal with the often contradictory directives of the score.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Música, Programa de Pós-Graduação em Música em Contexto, 2015. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2016-03-30T15:29:07Z No. of bitstreams: 1 2015_GabrielCamposCarneiro.pdf: 116405288 bytes, checksum: ab9981df0d53d38b009cdcdb5528ed60 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2016-03-31T10:54:13Z (GMT) No. of bitstreams: 1 2015_GabrielCamposCarneiro.pdf: 116405288 bytes, checksum: ab9981df0d53d38b009cdcdb5528ed60 (MD5) / Made available in DSpace on 2016-03-31T10:54:13Z (GMT). No. of bitstreams: 1 2015_GabrielCamposCarneiro.pdf: 116405288 bytes, checksum: ab9981df0d53d38b009cdcdb5528ed60 (MD5) / A dissertação aborda a vida e obra do citarista Heitor Avena de Castro. Considerado o primeiro, e até hoje único, citarista popular da música brasileira, Avena de Castro desempenhou sua função durante um longo período de tempo, marcando sua presença em diferentes momentos e épocas. Longe de ser uma biografia tradicional, busca-se fazer, baseado na micro-história, uma reflexão que possibilite interligar o estudo de Avena de Castro com as transformações vividas pelo Choro e pela sociedade durante sua carreira. Nessa perspectiva, as influências recíprocas entre Avena e o ambiente são enfatizadas. Assim, o Choro se torna personagem tão importante dessa pesquisa quanto o próprio citarista e suas transformações, do Rio de Janeiro do início do século XX até Brasília do século XXI, servem como base para esse estudo. __________________________________________________________________________________________ ABSTRACT / This research concerns the life and work of Heitor Avena de Castro in the analytical perspective of microhistory. His importance is much due to him being the first, and still only, zither player in Brazilian popular music and for having performed during a long period of time. In that sense, the aim of this dissertation is not only to do a simple biography, but also to understand the relationship established between him, the society that surrounded him and the changes that took place in the musical genre to which he devoted his life for, the Choro. That being said, Choro becomes as much a character as Avena de Castro himself, serving as a basis for the development of the discussion. Thinking about Avena’s participation on different periods of time and the changes that happened in Choro in several moments it was possible to construct a narrative that approached the establishment of the genre, in Rio de Janeiro of the early twenty’s century, as well as its transition to a new context in Brasília and many changes that surpassed until today.

Orientador : Prof. Dr. Edwin Pitre-Vásquez / Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Artes, Comunicação e Design, Programa de Pós-Graduação em Música. Defesa: Curitiba, 15/02/2017 / Inclui referências : f. 205-210 / Resumo: Aquela que aparece, no catálogo oficial das obras de Villa-Lobos, como sua primeira composição para violão - a Suíte Popular Brasileira - veio a público apenas 1950, nos últimos anos da carreira do compositor. Esse conjunto de cinco peças, visto por muitos autores como uma homenagem de Villa-Lobos aos músicos populares do Rio de Janeiro, homenagem prestada no momento em que se acredita que o compositor vivia na companhia amistosa desses músicos, é observada, nessa dissertação, por outro prisma. Aqui, o lapso entre a suposta concepção da obra e sua publicação aparece como um testemunho da complexidade e da ambiguidade que permeia a relação de Villa-Lobos com a música popular e do modo como essa relação participa do sentido atribuído pelo compositor à sua vida. Observá-la por esse novo ângulo implicou em colocar em questão e análise: 1) os sustentáculos da interpretação que usualmente se faz do significado dessa obra, isto é, o lugar privilegiado que Villa-Lobos ocupa na memória musical do Brasil e os discursos musicológicos consolidados em torno dele; 2) o modo como Villa-Lobos construiu sua trajetória de vida no diálogo com a música popular e os rastros da Suíte Popular Brasileira que foram se sedimentando e adquirindo sentido ao longo de tal trajetória. As discussões e conclusões presentes nesta dissertação se baseiam numa pesquisa bibliográfica e documental acerca dos pontos mencionados; seu ponto de partida teórico pertence à Etnomusicologia, mas seu desenvolvimento não seria possível sem uma imersão em textos das ciências sociais, da história e da filosofia. Palavras-chave: Villa-Lobos. Suíte Popular Brasileira. Música popular. Música Erudita. / Abstract: The one that appears in Villa-Lobos's official catalog of works as his first composition for guitar - the Suíte Popular Brasileira - came to the public only in the 1950s, it is, in the last years of the composer's career. This set of five pieces, seen by many authors as a tribute by Villa-Lobos to the popular musicians of Rio de Janeiro, a tribute given at the time when it is believed that the composer lived in the friendly company of these musicians, is seen, in this dissertation, by another prism. Here, the gap between the supposed conception of the work and its publication appears as a testimony to the complexity and ambiguity that permeates Villa- Lobos's relationship with popular music and the way in which this relation participates in the sense attributed by the composer to his life. Observing it from this new angle implied putting into question and analysis: 1) the basis of the interpretation that is usually made of the meaning of this work, that is, the privileged place that Villa-Lobos occupies in the musical memory of Brazil and the musicological discourses consolidated around him; 2) how Villa-Lobos built his life trajectory in the dialogue with the popular music and the trails of the Suíte Popular Brasileira that were sedimenting and acquiring meaning throughout this trajectory. The discussions and conclusions present in this dissertation are based on a bibliographical and documentary research about the mentioned points. Its theoretical starting point belongs to Ethnomusicology, but its development would not be possible without an immersion in texts of the social sciences, history and philosophy. Keywords: Villa-Lobos. Suíte Popular Brasileira. Popular music. Art music.

Submitted by Luiza Kleinubing (luiza.kleinubing@udesc.br) on 2018-03-08T19:09:48Z No. of bitstreams: 1 EDMAR DEUNÍZIO.pdf: 22667875 bytes, checksum: db78c930025358d091f7332a9aeb9327 (MD5) / Made available in DSpace on 2018-03-08T19:09:48Z (GMT). No. of bitstreams: 1 EDMAR DEUNÍZIO.pdf: 22667875 bytes, checksum: db78c930025358d091f7332a9aeb9327 (MD5) Previous issue date: 2016-05-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This thesis is a three chapter study of O Martírio dos Insetos (The Insects’ Martyrdom), a piece written for violin and orchestra by Heitor Villa-Lobos between 1917 and 1925. The first chapter is an historical contextualization of the piece and consider the facts that marked Villa-Lobos’ career. The second chapter approaches the creative phases of the composer and the musical characteristics of each period. The third chapter presents an analysis of O Martírio dos Insetos and intends to point some of the compositional processes used in the piece and relate them to these creative phases. The results of this study indicate that O Martírio dos Insetos has characteristics of different creative phases, not only the one in which Villa-Lobos wrote it, but also the earlier and the later ones. / Este trabalho aborda a obra O Martírio dos Insetos, composta para violino e orquestra por Heitor Villa-Lobos entre 1917 e 1925. Esta dissertação possui três capítulos, sendo que o primeiro é uma contextualização da obra em estudo, considerando fatos que marcaram a carreira do compositor. O segundo aborda as fases criativas de Villa- Lobos e as características musicais de cada período. Já o terceiro capítulo traz considerações analíticas sobre O Martírio dos Insetos, com intenção de observar alguns dos processos composicionais empregados e relacioná-los com as fases criativas. Os resultados deste trabalho demonstram que os processos composicionais empregados na obra possuem características de fases criativas diferentes, não apenas daquela em que Villa-Lobos a escreveu, mas também da fase anterior e posterior.