Orientador: Mauricy Matos Martin / Dissertação (mestrado) - Universidade Estadual de Campinas. Instituto de Artes / Made available in DSpace on 2018-07-27T08:54:19Z (GMT). No. of bitstreams: 1 Macedo_CintiaCosta_M.pdf: 4526864 bytes, checksum: d4bc2a55cec3c0de60ed12e4effc3dc4 (MD5) Previous issue date: 2000 / Resumo: Este trabalho apresenta, após uma introdução, análises dos 12 Estudos para piano solo de Osvaldo Lacerda. O enfoque é dado aos elementos musicais estruturais de cada um e os aspectos pianísticos interpretativos e técnicos são respectivamente baseados no método de análise de Júlio Bas 1 bem como em entrevistas com o compositor. Em seguida são apresentadas uma biografia obtida através do levantamento histórico de sua vida, carreira profissional e de entrevistas com o mesmo, bem como um catálogo de suas obras. Na conclusão estão os aspectos finais mais relevantes de cada Estudo mostrando o uso variado de constâncias melódicas e rítmicas da música brasileira. Dois anexos foram incluídos no trabalho, procurando contribuir para a divulgação das obras de Osvaldo Lacerda através de uma entrevista com a pianista Eudóxia de Barros sobre os Estudos e o relatório de uma apresentação feita em seminário a partir dos resultados da pesquisa. 1 BAS, Julio. TratadoDe La Forma Musical. Argentina, Buenos Aires: Ricordi, 1947 / Abstract: This dissertation presents, afier an introduction, the analysis of the twelve Estudos for piano solo by Osvaldo Lacerda. The focus is on the structural musical elements of each one and the interpretative and technical aspects of the analysis are based on the school of Julio Bas 2 as well as on interviews with the composer. Following are presented a biography obtained from the results of historical research on the composer's life, his professional career and personal interviews with him, as well as a catalogue of ali his work. In the conclusion are the most relevant aspects of each Estudo showing the varied use of typical melodic and rithmic brazilian music patterns. Two parts were added to this work intending to contribute to the divulgation of Osvaldo Lacerda's music through an interview with the pianist Eudóxia de Barros about the Estudos and comments on a lecture given at Oakland University, Rochester, Michigan, USA, about this research. 2 BAS,Julio. Tratado De La Forma Musical. Argentina, Buenos Aires: Ricordi, 1947 / Mestrado / Mestre em Artes

The career of Osvaldo Lacerda (1927-2011) spanned a critical time in the development of Brazilian nationalist music. Though he was an outspoken nationalist composer, he was also influenced by European trends and training. Even within his nationalist compositions, evidence of a shift in style that mirrors the European movements of Modernism and Postmodernism is found in his works. Among his thirty-six chamber works, three are wind quintets, written between 1962 and 1997. Although all three works warrant extended discussion, Variações e Fuga para quinteto de sopros is particularly valuable for studying Lacerda's musical language. It was originally written in 1962. However, Lacerda made significant revisions in 1994, completely rewriting and expanding it. Through comparing the 1962 and 1994 versions of Variações e Fuga and analyzing the significant differences between the two, this document aims show that even with his strong stance as a Brazilian nationalist composer, Lacerda was clearly influenced by the movements of the broader music world. Examples from his other two woodwind quintets, Quinteto de sopro and Suíte pra cinco, written in 1988 and 1997 respectively, help to support the idea that this change in his musical language was not an anomaly, but rather a true evolution of style impacted by his own culture and that of the classical music world around him.