EMAC - Escola de Música e Artes Cênicas

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    Realização de técnicas estendidas em três obras selecionadas do repertório brasileiro para piano solo do século XXI: apresentação e discussão
    (Universidade Federal de Goiás, 2014-03-29) Oliveira, Jonathan Taylor de; Costa, Carlos Henrique Coutinho Rodrigues; http://lattes.cnpq.br/5091807553556414; Costa, Carlos Henrique Coutinho Rodrigues; Domenici, Catarina; Raymundo, Sonia Marta Rodrigues
    This work discusses the performance of the extended techniques found in three Brazilian pieces for solo piano composed in the 21st Century in light of this researcher’s musical upbringing, which did not include repertoire with extended techniques. The pieces selected are Pó (2008), by Liduino Pitombeira (1962- ), Prélude VII (2008), by Marcílio Onofre (1982), and Pianimbau (2011), by Daniel Wolff (1968). The criteria for selecting the pieces were a contrasting compositional language between the pieces and that they should not be for beginner or intermediate levels. These pieces were the object of both parts of this research: Part A, in which the pieces were studied and prepared for the final recital, and Part B, which consists of a written record of the research. The historical context of the extended techniques found in the selected pieces, based on authors such as Stone (1980), Costa (2004), Burge (2004) and Ishii (2005), guided the investigation of the technical and interpretative aspects of the pieces. The discussions dealt with the following topics: type of extended technique, notation, dynamics, region of the piano on which a technique is performed, ways to perform a technique, parts of the body that are used, physical structure of the piano, materials used, and the sound resulting from the use of a technique. The research that was undertaken made it possible to conclude that the performance of these techniques within the established parameters involved the adaptation of technical abilities acquired previously during this researcher’s musical upbringing, as well as the development of new abilities. This research also revealed that extended techniques are present in the piano repertoire written by present day Brazilian composers, and it is thus pertinent to study such pieces throughout one’s musical upbringing.
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    Coral Meninas Cantoras de Porto Murtinho: um estudo do timbre nas inter-relações com as identidades culturais e a sociedade
    (Universidade Federal de Goiás, 2013-04-24) Passos, Cristina Maria Albuquerque; Unes, Wolney Alfredo Arruda; http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4781213P5
    This research aims at the investigation of the timbre in the interrelation of Cultural Identities with the Society, in a case study of Choir Meninas Cantoras de Porto Murtinho. Located at the border between Paraguay and Mato Grosso do Sul, Porto Murtinho is characterized by the contact of three cultures of different origins, which is materialized in the use of three languages. With an interdisciplinary approach, based on the cultural history of social sciences, of the voice and the singing, this research relates Music, Culture and Society. This work is founded on participant observation, with qualitative approach, comparing and presenting the singing of the girls before and after the vocal work as well as questionnaires and interviews with professionals, choir participants and community members. During the analysis it remains clear the feedback between the objects studied, tone, identities, culture, choir and society, and their representations, that promote changes in the lives of the girls. Out of this study emerges the importance of the relationship between tone and cultural identities.
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    Improvisação na música popular brasileira instrumental (MPBI): Aspectos da performance do contrabaixo acústico
    (Universidade Federal de Goiás, 2011-04-30) Silva, Bruno Rejan; Raymundo, Sônia Marta Rodrigues; http://lattes.cnpq.br/5646455244693371; Raymundo, Sônia Marta Rodrigues; Albright, Valerie Ann; Leão, Eliane
    This paper deals with improvisation procedures for double bass in Instrumental Brazilian Popular Music (MPBI). Available literature on instrumental popular music focuses on North American jazz, however there is much to be explored and released concerning the material produced and published in Brazil about MPBI, particularly on double bass. Authors such as Piedade (2005) and Cirino (2009) discuss the scarce available literature and ponder on improvisation in overall Brazilian music. These authors' ideas are references to this work, which deepens their proposed discussion of improvisation and spreads it to double bass improvisation, mostly in interpretation of Brazilian genres. This paper's main goal is to discuss the use of rythmic cells and idiomatic melodies in improvisation for Brazilian genres baião, choro and samba. The work's methodology is made up of three main steps: 1) literary review in Portuguese and English; 2) selection and discussion of elements through hearing of audiovisual recordings, 3) applying selected elements to improvisation on popular themes’s excerpts. The work will also bring appendixes with full sheets for the defense recital and audio samples for the suggested improvisations. The research's final results (final product for concluding the Master's Degree in Music course) are presented in two parts: the defense recital (including themes with MPBI improvisation), which presents the research-originated artistic product, and the scientific article’s defense, which records the process of research itself.
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    Três estudos de concerto para violão de Radamés Gnattali peculiaridades estilísticas e suas implicações com processos de circularidade cultural
    (Universidade Federal de Goiás, 2014-04-25) Silva, Valdemar Alves; Clímaco, Magda de Miranda; http://lattes.cnpq.br/3267761359411377; Clímaco, Magda de Miranda; Guimarães, Fernanda Albernaz do Nascimento; Cunha, Estércio Marquez
    This research aimed to investigate the technical characteristics/stylistic involved with the Three Studies of Concert for guitar the songwriter gaucho Radamés Gnattali, in its interaction with the processes of circularity and cultural hybridization. Tried to reach, especially, to the peculiarities of the work of this composer, related to the inseparability between stylistic characteristics /idiomatismo/Technical/cultural interaction, emphasizing always transit that has been established between the specificities of different fields of musical production (Bourdieu, 2003). Chartier (1990), Hall (2005), Bourdieu (2003) and Canclini offered (2003), allowed for a theoretical foundation that took on important representational reference, referring to the possibilities raised by practical knowledge and daily involved with identitary processes, that is the objective and becomes evident in verbal formulations, practices and cultural works. This reasoning pointed as the methodological approach, in addition to the bibliographic research, referring to the removal of scenarios sociohistorical and cultural and the elements of the path of life and musical Gnattali, the analysis and interpretation of works that integrate the Three Studies of Concert for guitar. In this context, the analysis and interpretation of scores were performed in interaction with the analysis and interpretation of works recorded on CDs and with data collected in the research literature. Thus, it was possible to confirm the assumption that the works of Radamés Gnatalli Gnattali that integrate Three studies of Concert for guitar, were able to prove the specificity of his work as a composer, a composer who transitioned so fluidic flip by different cultural dimensions; who worked in the most peculiar way a musical language hybrid, indicative of stylistic peculiarities that demonstrate not only his transit cultural, but also their interaction with the sound features, technicians of the instrument.
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    Quatro obras de Gilberto Gagliardi segundo o Quarteto Brasileiro de Trombones: revisão e edição crítica
    (Universidade Federal de Goiás, 2013-04-26) Teixeira, Alexandre; Cardoso, Antonio Marcos Souza; http://lattes.cnpq.br/0664807145882810; Cardoso, Antonio Marcos Souza; Ronqui, Paulo Adriano; Machado, Johnson Joanesburg Anchieta
    Gilberto Gagliardi was the composer with the greatest number of works dedicated for the trombone in Brazil in the second half of XX sec. In 2003, two years after his death, the Brazilian Trombone Quartet recorded the album Tributo a Gilberto Gagliardiwith eighteen pieces, four of which written to the members of this chamber group. Considering this source as a starting point, we shall analyse the interpretation of these pieces by the group aiming to identify relevant technical aspects, present or not, in the original works. By making use of methodological tools, such as the visual analysis of manuscripts, the auditory analysis of the phonographic record, interviews with musicians, electronic publishing of sheet music and the use of audio software, we shall point out interpretive characteristics which will be compiled in a critical edition, thus offering one more source for the realization of new performances by Brazilian and foreign trombone quartets.