Made available in DSpace on 2015-05-14T12:52:38Z (GMT). No. of bitstreams: 1 parte1.pdf: 3911167 bytes, checksum: c16331e624baa522e3f4f2912d83fec9 (MD5) Previous issue date: 2009-11-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The purpose of this research was to study the Concerto no. 1 for Violin and Orchestra by Camargo Guarnieri. One of its main goals was the search for elements of the Brazilian musical nationalism present in this work. Thus, in order to achieve this first goal, an analysis was done based on the Ensaio sobre a música brasileira by Mário de Andrade. Where the author gives the guidelines on which nationalists composers should follow, in order to compose Brazilian music with national traits. Therefore, we could verify the presence of several elements of the nationalistic aesthetic employed by Guarnieri in this concerto. This study had as primary source the musical score of the concerto in digital format, provided by the Camargo Guarnieri Archive, which belongs to the Institute of Brazilian Studies, in São Paulo. It was also verified the content of the digital media entitled Camargo Guarnieri 3 Concertos for Violin and the Mission , which contains the first DVD recording of Guarnieri s works for violin and orchestra. During the research a biographical study was done, focusing on relevant facts of Guarnieri s life right before and after the composition of this concerto. Based on this information, we verified that the Concerto no.1 was the beginning of a very important period in his professional life. This research also takes into consideration the analysis of the compositional style employed by Guanieri in this concerto. We have observed the use of compositional elements inherited from the European tradition combined with elements from the Brazilian popular culture. We have also noticed the presence of musical instruments, scales, rhythms and melodic fragments that are characteristics of some popular melodies. These elements were carefully selected, which allowed us to show their use in several passages in which Guarnieri placed them. This study also focused on the observation of the formal structure and the thematic and motivic development employed by Guarnieri in all three movements of this concerto. This research culminated with a performance edition of the work for violin and piano based on the manuscripts. / Este trabalho objetivou o estudo do Concerto n.º 1 para Violino e Orquestra de Camargo Guarnieri, tendo como uma de suas principais metas a busca por elementos do nacionalismo musical brasileiro presentes nesta obra. Para alcançar este primeiro objetivo foi feita uma análise, com base no Ensaio sobre a música brasileira de Mário de Andrade, sobre as diretrizes que os compositores nacionalistas deveriam seguir para comporem música brasileira com características nacionais. Desta forma, pudemos constatar a presença de vários elementos da estética nacionalista usados por Guarnieri na composição da obra estudada. O estudo teve como fonte primária, o manuscrito do concerto em cópia digital cedida pelo Arquivo Camargo Guarnieri, Instituto de Estudos Brasileiros, São Paulo. Foi também verificado o conteúdo existente na mídia digital Camargo Guarnieri 3 Concertos para Violino e a Missão , que representa a primeira gravação em DVD da obra de Guarnieri para violino e orquestra. Durante a pesquisa foi realizado um levantamento biográfico sobre alguns fatos ocorridos na vida de Guarnieri, referentes ao período anterior e posterior ao da composição deste concerto. Diante desses dados, verificou-se que o Concerto n.º 1 foi o início de uma fase de significativas conquistas na vida do compositor. Outro ponto de destaque desta pesquisa refere-se à análise do estilo composicional de Guarnieri neste concerto. Verificamos a presença de elementos composicionais herdados da música européia, em perfeita harmonia com os elementos de nossa cultura popular. Constatamos no concerto a utilização de instrumentos, escalas, ritmos e reminiscências melódicas que são características de certas melodias populares. Estes elementos foram cuidadosamente selecionados e foi possível demonstrar o seu uso nos vários trechos em que Guarnieri os inseriu. Este estudo também teve como foco, a observação da estrutura formal empregada por Guarnieri e o tratamento dado ao desenvolvimento temático e motívico nos três movimentos do concerto. A pesquisa teve o propósito de fazer uma edição da parte do concerto no formato para violino e piano a partir de seus manuscritos.

Made available in DSpace on 2015-05-14T12:52:39Z (GMT). No. of bitstreams: 1 parte1.pdf: 3077978 bytes, checksum: 50e81f5fa34cc2bf3c7338b19caa268a (MD5) Previous issue date: 2010-08-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research intends to study the historical, aesthetic, and interpretative aspects of Clóvis Pereira s Concertino in A Major for Violin and String Orchestra (1996-2001) a unique concertante work written for the violin in the armorial style. Thus, the main goal of this dissertation is to offer interpretative ideas based on the analysis of the most important aspects of this aesthetics. For this intent, we have done personal interviews with the composer, performers and scholars. We have also done extensive research in the composer personal files and archives, as well as at the Joaquim Nabuco s Foundation and the Federal University of Pernambuco libraries. The analysis of the piece was focused mainly on the observation of the compositional process, besides the idiomatic use of the instrument and its relationships with popular and folkloric references as agents of the musical style. The hypotheses were evaluated and confirmed empirically, demonstrating the significance of theoretical study, and its relation to interpretative issues, in the search for a better performance. / Este trabalho tem como objetivo abordar os aspectos históricos, estéticos e interpretativos do Concertino em Lá Maior para Violino e Orquestra de Cordas (1996-2001), de Clóvis Pereira, única obra armorial concertante para esse instrumento, bem como criar critérios interpretativos através da análise da obra, dentro da perspectiva violinística. A estratégia metodológica empregada consistiu na pesquisa documental e bibliográfica na Fundação Joaquim Nabuco, na Biblioteca da Universidade Federal de Pernambuco e no acervo particular do compositor, bem como entrevistas não diretivas e dirigidas a intérpretes e outros pesquisadores. A análise da obra consistiu na observação dos processos técnicocomposicionais, no uso dos instrumentos e no correlacionamento dos argumentos e das referências folclórico-populares como agentes do discurso musical do Concertino. As hipóteses foram confirmadas e avaliadas empiricamente e os resultados demonstraram a importância do estudo teórico em música e da consciência interpretativa para uma melhor performance.

Seventeenth-century division violin music is not considered part of the classical canon, but its background as a European art form may make it seem “too Western” for traditional ethnomusicological study. The purpose of this thesis is twofold: first, I outline the historical context, transmission, and performance practice of division violin playing in England during the sixteenth and seventeenth centuries. Also of interest to me is the way in which we, as musicologists, study oral tradition within the context of a musical culture that no longer exists today. After an exploration of the ideas of Milman Parry and Albert Lord, Walter Ong, Ruth Finnegan, and Slavica Ranković, I discuss the English division violin’s background and transition from a largely oral to a predominantly literate tradition. I demonstrate this change in transmission, composition, and performance practices through examining the second and sixth editions of John Playford’s The Division Violin (1684).

O presente trabalho investiga processos de aprendizagem e memorização simultâneos ao avaliar a eficácia dos Guias de Execução (GEs) segundo o protocolo Chaffin. O protocolo foi utilizado como estratégia de prática deliberada para o aprendizado e memorização simultâneos. Objetiva-se observar o efeito dos GEs para o controle dos sintomas de ansiedade durante a performance, bem como para a recuperação de episódios de falhas de memória do intérprete. O estudo envolve quatro violinistas pós-graduados e apresenta a proposta de aprender e memorizar simultaneamente um repertório não estudado previamente de maneira sistemática. O repertório pôde ser escolhido livremente pelos participantes dentre a obra Sonatas e Partitas de Johann Sebastian Bach (BWV 1001-1006). / This work investigates simultaneous learning and memorization processes by evaluating the effectiveness of Performance Cues (PCs) according to Chaffin’s protocol. The protocol was used as a deliberate practice strategy for learning and memorizing simultaneously. The purpose of this investigation is to observe the effect of PCs on controling symptoms of anxiety during the performance, as well as how it helps recovery from memory failure episodes by the performer. The study involves four postgraduates violinists and presents the proposal of learning and memorizing a repertoire that was not previously studied in a systematic way. The repertoire could be chosen freely by the participants from the work Sonatas and Partitas by Johann Sebastian Bach (BWV 1001-1006).

Esta pesquisa parte da relação música/projeto social para estudar de que forma os integrantes da Orquestra de Violinos Cartola-Petrobras, do Centro Cultural Cartola, no Rio de Janeiro, tiveram reforçada a autoestima pelo aprendizado de uma nova linguagem a musical e pelo convívio com os professores e com os demais companheiros músicos. Nesse percurso, foram analisadas as dificuldades de se morar em uma favela carioca, dentre elas o preconceito, seja do ponto de vista geográfico, seja do ponto de vista social, uma vez que a maioria dos componentes da Orquestra mora na Mangueira. O ponto de partida foi a leitura de teóricos como Axel Honneth, George Yúdice, Stuart Hall e a contribuição de outros estudiosos da área sociocultural, que comparecem para dar suporte à argumentação. Num segundo momento, foi desenvolvido o trabalho de campo, com o recolhimento dos dados colhidos em entrevistas com os atores sociais. O binômio reconhecimento social/solidariedade implica outro elemento aqui também abordado: o desenvolvimento da cidadania. Diante de tal cenário, é possível observar a possibilidade de imprimirem-se mudanças no contexto onde a realidade se configura, ou seja, qual o lugar que o sujeito ocupa antes e depois de ser instaurado o processo de apropriação do conhecimento e como as mudanças que se operam nele se estendem ao ambiente em derredor, incluindo a família. / This research start from relationship between music and social projects to study how the members of the Orchestra of Violins Cartola Petrobras from Centro Cultural Cartola, in Rio de Janeiro, had strengthened their self-esteem by learning a new language the musical and by living with the teachers and with other fellow musicians. Along the way, the difficulties of living in a slum in Rio were considered, including prejudice, whether from a geographical point of view or from the social side, since most of the components of the Orchestra lives in Mangueira. The starting point was the reading of theorists such as Axel Honneth, George Yúdice, Stuart Hall and the contribution of other scholars of socio-cultural area, which attend to support the argument. Foward, the fieldwork was developed, with the gathering of information from the interviews with the social actors. The binomial social/solidarity recognition implies another element here also covered: the development of citizenship. Faced with such a scenario, it is possible to see the possibility to observe changes in the context where reality configures itself, i.e. What place the subject occupies before and after being initiated the process of appropriation of knowledge and how changes that hapenning with him are extended to the environment around him, including family.

Syftet med studien är att beskriva tre fiollärares förhållningssätt till musikteori i undervisningen. Detta görs med forskningsfrågorna: Hur definierar fiollärarna begreppet musikteori? Vilka musikteoretiska element erfar fiollärarna att de integrerar i undervisningen?Hur erfar lärarna att de arbetar med musikteori i fiolundervisningen?och Vilka svårigheter förknippar lärarna med fenomenet musikteori i fiolundervisning? Studiens kunskapsteoretiska utgångspunkt är interpretativism och den vetenskapsfilosofiska utgångspunkten fenomenologi. För att uppnå syfte och svara på frågeställningar har semistrukturerade intervjuer gjorts med tre fiollärare. I resultatet beskrivs deras förhållningssätt till musikteori i undervisningen kategoriserade i fyra teman: Fiollärarnas definition av begreppet musikteori, Att arbeta med musikteori i fiolundervisning, Val av musikteoretiskt lektionsinnehåll och Svårigheter med musikteori i fiolundervisningen. I resultatet framkommer många skillnader och olikheter i de intervjuade lärarnas utsagor, men alla berör ämnet notläsning och betonar vikten av att koppla musikteoriundervisning till spel på fiolen. I studiens avslutande kapitel diskuteras resultatet i förhållande till tidigare litteratur och forskning samt till studiens vetenskapsfilosofiska perspektiv fenomenologi. / The purpose of the present study is to describe three violin teachers approach to music theory in teaching. The study has three research questions: How does the violin teachers define the term music theory? What kind of music theory elements do violin teachers experience that they integrate into their teaching? In what way do the teachers experience that they work with music theory in violin education?and What are the music teachers experiences of the phenomenon music theory in violin education?The theoretical foundation of the study is interpretativism and the philosophical perspective is phenomenology. Semi-structured interviews were conducted with the three violin teachers. In the result, their approach to music theory in violin teaching is categorized into four themes: The violin teachers definitions of music theory, To work with music theory in violin teaching,  choice of music theoretical lesson contentand Difficulties with integrating music theory in violin teaching. The results reveals that there is differences between the teachers' approaches. However, all the teachers reported that they emphasize note acquisition  and the importance of combining music theory with playing the violin. Finally, the results are discussed in relation to previous literature and research, as well as to phenomenological perspectives.

abstract: ABSTRACT Classical violin playing and American fiddle music have traditionally been seen as separate musical worlds. Classical violinists practice and study long hours to master a standard repertoire of concertos and sonatas from the Western European school of art music. Fiddlers pride themselves on a rich tradition passed down through generations of informal jam sessions and innovation through improvisation. Mark O'Connor's Fiddle Concerto, premiered in 1993, sounds like a contradiction at first: a quintessential classical form combined with traditional fiddle playing. Examination of the Fiddle Concerto will show that the piece contains classical and fiddle-style elements simultaneously, creating an effective hybrid of the two styles. This document will explore how the history of the classical violin concerto and American fiddle music converge in Mark O'Connor's Fiddle Concerto. To gain an understanding of O'Connor's composition process, I submitted to him a list of questions, via email, in the summer of 2016. O'Connor’s responses provide a unique insight into the genesis of the Fiddle Concerto and his vision for musical compositions that originate from multiple genres. Chapter four of this document will discuss the melodic themes, formal makeup, and techniques presented in the Fiddle Concerto and show how both classical and fiddle elements coexist in the piece. The result of the mix is an exciting work that appeals to a broad audience of music lovers. The final chapter of this document will explore the growing repertoire of music created by cross-pollinating from different styles to create a new style, including selected O'Connor compositions completed since the Fiddle Concerto, as well as similar works by other composers who combined classical elements with other musical styles. / Dissertation/Thesis / Doctoral Dissertation Music 2016

abstract: To be a versatile violinist, one needs interdependence of aural, visual and kinesthetic skills. This thesis introduces aural, visual and kinesthetic learning modalities, and explores the way each is used in the Suzuki, Paul Rolland, Orff, Kodály, and Dalcroze methods, as well as in Edwin Gordon’s Musical Learning Theory. Other methods and pedagogical approaches were consulted and influential in developing the curriculum, such as the teaching of Mimi Zweig, but were not included in this paper either because of an overlap with other methods or insufficient comparable material. This paper additionally presents a new curriculum for teaching beginning violin that incorporates aural, visual, and kinesthetic learning in a systematic and comprehensive manner. It also details a sequenced progression to learn new repertoire and develop proficiency with rhythm, solfège, reading and writing musical notation, and left- and right-hand technique. / Dissertation/Thesis / Doctoral Dissertation Music 2017

abstract: This research paper examines Guillaume Lekeu's Sonata for Piano and Violin (1892) from the perspective of a collaborative pianist, providing historical background, an analysis of the work's musical structure, and performance practice insights. Each chapter offers the performer a deeper understanding of various aspects concerning the work, including an in-depth analysis of cyclical features used by Lekeu. Lekeu was strongly influenced by his teacher, César Franck, and in particular by Franck's use of cyclic techniques, which profoundly impacted Lekeu's Sonata for Piano and Violin. The cyclic treatment, which includes cyclic themes, cyclic motives, and non-cyclic themes is discussed, enabling performers to achieve a relevant structural approach to this work. A performance guide includes practical advice for the interpretation and performance of the work, along with piano pedaling suggestions. The integration of these aspects enables a pianist to gain a better understanding and appreciation of Lekeu's Sonata for Piano and Violin. / Dissertation/Thesis / Doctoral Dissertation Music 2018

abstract: Our world has become smaller due to globalization and frequent cultural exchange between different countries. As a result, classical music is becoming increasingly global. There are a significant number of Chinese composers, including Tan Dun, Chen Yi, Zhou Long, and Bright Sheng, who have gained international attention. For a modern performer, familiarity with music outside of the Western canon is increasingly important. Bright Sheng is an internationally renowned Chinese-American composer who blends the heritage of traditional Chinese musical elements, traditional instruments, Chinese Opera and folk melodies with Western musical techniques. He infuses Chinese character into his works and introduces Chinese music to the Western classical music world. In this paper, I discuss two of Bright Sheng’s pieces: A Night at the Chinese Opera and Three Fantasies. Both works were composed in 2005 and are the only two compositions he wrote for violin and piano. Most pianists are not familiar with how to transfer or imitate the sounds of traditional Chinese instruments on Western musical instruments. The paper examines traditional Chinese techniques for Western instruments from A Night in Chinese Opera. Three Fantasies contains three distinct musical characters related to different musical elements from different regions of China. I explore the traditional musical forms from Three Fantasies and offer practical suggestions for performance practice. This document provides Bright Sheng’s biography, educational background, influences, and compositional style. It also features the inspirations for both pieces, a detailed analysis of both scores including a structural outline, discussion of compositional style, usage of rhythm and timbre and explanation of special techniques. This document also serves as an interpretative guide to each composition, including story outlines, suggestions for practice strategies, aesthetic considerations, rehearsal techniques and performance considerations. The research for this paper is based on personal interview and coaching with Bright Sheng and analysis from the published scores for A Night at the Chinese Opera and Three Fantasies by G. Schirmer, Inc. I hope that this document will be a comprehensive performers’ guide to both works and serve as an explanation and promotion of Chinese classical music to a larger audience. / Dissertation/Thesis / Doctoral Dissertation Music 2018