Orientador: Maria Lucia Senna Machado Pascoal / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-11T21:59:24Z (GMT). No. of bitstreams: 1 Otsuka_Magaly_M.pdf: 33490955 bytes, checksum: ded56a65b8d2b2470ab8f8a7de5d7d16 (MD5) Previous issue date: 2008 / Resumo: Esta pesquisa tem como objetivo principal o estudo analítico e interpretativo de duas peças para piano de Marlos Nobre: Sonata Breve, opus 24 (1966/2000) e Tango, opus 61 (1984). A metodologia abrange três pontos principais: o levantamento biográfico e histórico da vida do compositor; o estudo do material musical e de técnicas de análise; a leitura e análise das peças, bem como o levantamento das dificuldades encontradas e as sugestões de estudo. O trabalho se justifica pela necessidade do estudo e divulgação da música contemporânea brasileira, como também pela contribuição para as pesquisas no campo das Práticas Interpretativas. A bibliografia trata de assuntos relacionados à análise e aos princípios de técnica pianística. A conclusão aponta as principais características do idioma pianístico do compositor, referentes às duas peças, utilizando a análise e as experiências adquiridas durante o estudo, resultando em possíveis soluções para uma interpretação consciente. / Abstract: The main goal of this research is the analysis and interpretative study of two of Marlos Nobre's piano pieces: Sonata Breve, opus 24 (1966/2000) and Tango, opus 61 (1984). The methodology includes three main points: to introduce the biography and historical data of the composer's life; study of the musical material and analysis techniques; to read and analyze both pieces, as well as to show the difficulties and propose studies suggestions. Another purpose of this study can be justified by the need for the study and promotion of contemporary Brazilian music and its contribution for the researches of Interpretative Practices. The bibliography deals with topics related to analysis and principles of pianistic techniques. The Conclusion section shows the main characteristics of the composer's pianistic idiom, related to both pieces, using the analysis and experience acquired during this study, with the intent of finding solutions for a consistent interpretation. / Mestrado / Mestre em Música

Este trabalho apresenta a comparação entre excertos do primeiro movimento da Sonata K. 284 com trechos de obras de compostas no estilo concertante, com o objetivo de identificar texturas que sejam compartilhadas em ambos, e assim fornecer subsídios para uma interpretação. Para o reconhecimento da equivalência entre essas as texturas, foi utilizada a obra The Technique of Orchestration de Kent W. Kennan, O Diálogo Musical e O Discurso dos Sons de Nikolaus Harnoncourt. / This dissertation presents a comparison between excerpts of the first movement of Mozart Piano Sonata K. 284 with excerpts of Mozart works composed in the concertante style, aiming to point out textures that are shared by these genres to provide to basis for an interpretation. The relationship of idiomatic features was based on Kent W. Kennan´s book The Technique of Orchestration and on Nikolaus Harnoncourt´s books The Musical Dialogue and Music As Speech.

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Thesis (doctoral)--Friedrich-Wilhelms-Universität zu Berlin, 1928. / "Literatur": p. 75-76. "Johann Schoberts Werke": fold. tab.

Este trabalho apresenta a comparação entre excertos do primeiro movimento da Sonata K. 284 com trechos de obras de compostas no estilo concertante, com o objetivo de identificar texturas que sejam compartilhadas em ambos, e assim fornecer subsídios para uma interpretação. Para o reconhecimento da equivalência entre essas as texturas, foi utilizada a obra The Technique of Orchestration de Kent W. Kennan, O Diálogo Musical e O Discurso dos Sons de Nikolaus Harnoncourt. / This dissertation presents a comparison between excerpts of the first movement of Mozart Piano Sonata K. 284 with excerpts of Mozart works composed in the concertante style, aiming to point out textures that are shared by these genres to provide to basis for an interpretation. The relationship of idiomatic features was based on Kent W. Kennan´s book The Technique of Orchestration and on Nikolaus Harnoncourt´s books The Musical Dialogue and Music As Speech.

Este trabalho apresenta a comparação entre excertos do primeiro movimento da Sonata K. 284 com trechos de obras de compostas no estilo concertante, com o objetivo de identificar texturas que sejam compartilhadas em ambos, e assim fornecer subsídios para uma interpretação. Para o reconhecimento da equivalência entre essas as texturas, foi utilizada a obra The Technique of Orchestration de Kent W. Kennan, O Diálogo Musical e O Discurso dos Sons de Nikolaus Harnoncourt. / This dissertation presents a comparison between excerpts of the first movement of Mozart Piano Sonata K. 284 with excerpts of Mozart works composed in the concertante style, aiming to point out textures that are shared by these genres to provide to basis for an interpretation. The relationship of idiomatic features was based on Kent W. Kennan´s book The Technique of Orchestration and on Nikolaus Harnoncourt´s books The Musical Dialogue and Music As Speech.

Osvaldo da Costa Lacerda (March 23, 1927-July 18, 2011), one of the most significant Brazilian composers of the twentieth century, wrote more than 250 compositions. The purpose of this dissertation is to provide a history and analysis of the Brazilian genres characterized in Osvaldo Lacerda’s, Sonata for Flute and Piano. Written in 1959, the sonata represents traditional Brazilian rhythms within a classical structure and modern harmony. The work provides a basis for the exploration of the embolada, the serestas, and the baião, examples of Brazilian typical song forms and rhythms. Analysis of the historical roots of these nationalistic elements will provide appropriate performance practice considerations when playing Brazilian rhythms; and because this sonata only exists in manuscript form, the historical analysis and performance guide will be of service to disseminate this important Brazilian work. As a basis for a critical edition of the Sonata for Flute and Piano, this initial effort will provide performers with a context for Brazilian flute music. Chapters include the Lacerda’s biography, a background of the nationalistic movement in Brazil and the composers who have influenced Osvaldo Lacerda. Definitions of embolada, serestas, and baião is also provided.

Beethoven's piano sonatas are possibly the greatest achievement in piano literature, perhaps in all musical literature. It has been said that if the forty-eight preludes and fuges of Bach's "Well-tempered Clavier" were to be considered the "Old Testament" of music, then Beethoven's thirty-two sonatas would have to be the "New Testament."

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