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.

Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-06-12Bitstream added on 2014-06-13T19:35:33Z : No. of bitstreams: 1 vaccari_pr_me_ia.pdf: 734728 bytes, checksum: 49db31e488d22f9da7288e8966719b05 (MD5) / O trabalho foca um estudo do gênero do coco de embolada, em três peças de José Siqueira (1907-1985), sob a perspectiva do contexto cultural e social das expressões populares utilizadas pelo compositor, voltando-se para suas origens e sua história, baseando-se em Hobsbwn e Blacking. Sobretudo, a pesquisa aponta como poderia o cantor lírico brasileiro, imbuído dos elementos sócio-históricos formadores desse gênero da música folclórica, interpretar as três peças escolhidas. Propõe-se que as canções devam ser entoadas com esses conhecimentos prévios, aproximando o canto das origens da embolada, e do local onde hoje ela aparece nas cidades, nas praças dos centros. Procurou-se uma interpretação guiada pela história social de cada canção, como é interpretada pelos cantadores contemporaneamente e como executá-la, considerando seus aspectos originais e sua procedência principal. O gênero do coco de embolada possui uma história delimitada pela sociedade e pelo ambiente de sua época, e os poemas e as melodias dessas canções mostram um universo de práticas e costumes peculiares, de diversos aspectos da formação cultural brasileira. As três canções analisadas são canções de coco de embolada populares-tradicionais, e tratam da questão do êxodo Nordeste-Sudeste. Propõe-se que “Benedito pretinho”, “Dança do sapo” e “Vadeia cabocolinho” devam ser interpretadas levando-se em conta o ambiente no qual a embolada se desenvolveu e no qual hoje ela continua popular, que é a praça urbana. Neste caso, foi analisada a interpretação dos cantadores Verde Lins e Pena Branca, da Praça da Sé, em São Paulo, considerando principalmente os seguintes aspectos: nasalidade e oralidade na performance. / This paper focuses on studying the coco de embolada genre via three pieces by José Siqueira (1907-1985) in the cultural and social context of popular expressions which this composer employed to reach for both his origin and history, based on Hobsbawn and Blacking. Above all, suggestion is made on how a Brazilian classical singer, under the social historical elements forming that folk song genre, might sing the three pieces of choice. A proposal is given that such songs should be chanted from that previous notions so that the singing comes closer not only to the origins of the embolada itself but also to where nowadays it appears in cities and urban squares. An attempt is made to interpret each song with an ear to its social history just as it has been sung by contemporary singers, with an execution that should take its original aspects and main provenance into account. The history of the coco de embolada genre is enveloped by the society and the environment of its days, and the poems and melodies of those songs are pervaded with unique practices and usage arising from manifold scenes of the Brazilian cultural formation. The three songs investigated are popular-traditional coco de embolada pieces addressing the Northeast to Southeast exodus. The proposition here is that “Benedito pretinho,” “Dança do sapo,” and “Vadeia cabocolinho” are to be interpreted regarding the urban square environment that surrounded the development of the embolada (in which it remains popular). This is why the interpretations of singers Verde Lins and Pena Branca at Praça da Sé in São Paulo are covered here. Two main aspects have been considered: Performance nasality and utterance.