Mestrado em Música (EMAC)
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Navegando Mestrado em Música (EMAC) por Por Orientador "Cardoso, Antônio Marcos Souza"
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Item O gesto musical na interpretação de três obras para trombone de Estércio Marquez Cunha(Universidade Federal de Goiás, 2015-07-06) Ângelo, Jackes Douglas Nunes; Mello, Carlos Eduardo Vianna de; http://lattes.cnpq.br/0134613809884885; Cardoso, Antônio Marcos Souza; http://lattes.cnpq.br/0664807145882810; Cardoso, Antônio Marcos Souza; Mello, Carlos Eduardo Vianna de; Raymundo, Sônia Marta Rodrigues; Cunha, Estércio MarquezThis article is result from combination of interpretive practice, bibliographic study into musical gesture, analysis of the interpreted musical works, and reporting my experience as interpreter. Is made here a gesture study in musical performance and its possible potential to optimize the interpretative communication between performer and pubic. For this, we used three music pieces for trombone by composer Estércio Marquez Cunha. Backed in bibliographical searches as well as in my experience report into the preparation and interpretation of the musical works, this research describes the relationship between performance and musical gesture. From the interpretative analysis, it was found multiple instances in which musical gesture, coupled with body movement, likely to influence the interpreter expressiveness, interfering therefore directly at the moment of performance.Item A articulação na obra Charanga Jazz Mambo a partir da influência da música afro-cubana(Universidade Federal de Goiás, 2013-05-29) Milet, Roberto Wagner; Cardoso, Antônio Marcos Souza; http://lattes.cnpq.br/0664807145882810; Cardoso, Antônio Marcos Souza; Pinto, Marshall Gaioso; Costa, Carlos Henrique Coutinho Rodrigues; Duarte, Mabio RochaThe present work is a study on the relationship in music for brass quintet and percussion Charanga Jazz Mambo by Pedro Rodrigues Carneiro, focusing on expressive accents, specifically in the diction used by brass players. Based on the analogy developed by Harnoncourt (1998) between the onset of sound and speech, as well as, the historical changes of attitude in relation to composers writing detailed the score, the research points to the development of instrumental technique, exposing the model standard quintet metals, their variations as well as collaboration in the drafting, interpretation and dissemination of the piece contained in this work. As a source of information about the author, still unknown in academia, we present a brief biography of the composer. Expressive elements such as tempo and articulation, are explained in the description of the work, focusing attention on expressive accents, suggesting the phonemes “TA” or “DA” depending on the nature harder or softer, respectively, from the beginning of each note.Item Agrupamento de notas: aplicação do conceito interpretativo na obra estudo para trompete em Dó, de Camargo Guarnieri(Universidade Federal de Goiás, 2017-04-01) Moura Junior, Nivaldo Camargo de; Cardoso, Antônio Marcos Souza; http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4256260T1; Cardoso, Antônio Marcos Souza; Costa, Carlos Henrique Coutinho Rodrigues; Lopes, Maico ViegasAbstract: The present research was developed through the application of the Group of Notes, concept presented by James Morgan Thurmond (1991) in the book: Note Grouping: A Method for Achieving Expression and Style in Musical Performance, being used as tool for interpretative suggestion in the work Estudo Para Trompete em Dó, by the Brazilian composer Camargo Guarnieri. Initially a bibliographical survey was carried out on the research and repertoire productions related to the interpretive practices for solo trumpet in Brazil, as well as a historical and methodological linkage of musical expressiveness, approaching the pedagogy of musical expressiveness, the grouping of notes and finally the application of this concept as an interpretative suggestion in specific sections of the work, object of study researched.Item Apresentação, discussão e realização de três técnicas estendidas na obra Solus, para trompete desacompanhado, de Stanley Friedman(Universidade Federal de Goiás, 2019-09-23) Nascimento, Vinícius Côrtes do; Cardoso, Antônio Marcos Souza; http://lattes.cnpq.br/0664807145882810; Cardoso, Antônio Marcos Souza; Rosa, Robervaldo Linhares; Lopes, Maico ViegasStanley Friedman's Solus composition, composed in 1975, is inserted in the repertoire of the 20th century solo trumpet, the piece is divided into four movements, Introduction, Furtively, Scherzando and Waltz and Fanfarre. In the work is remarkable a timbre expansion and new forms of sound production, result of the development of new unusual instrumental techniques compared to the traditional repertoire, thus, denominated like extended techniques, because they expand the interpretative possibilities from the twentieth century. During the present work, we selected three extended techniques, to present, discuss and perform their interpretations, Slide Glissandi, Vocalization and Open Tubing Technique. They were proposed because they minimally contemplate the works of the current repertoire of the instrument and aren’t discussed and used in contemporary books and methods, besides addressing aspects inherent to the problematization, as a consideration of the importance of research in musical performance, the complexity of musical interpretation and the diversity of concepts about the extended technique in general and its particularities in the trumpet.Item O repertório de trombone baixo nas universidades brasileiras: uma proposta de classificação de dificuldades(Universidade Federal de Goiás, 2018-09-28) Silva Junior, Milton Marciano da; Borges, Lucas Rego; http://lattes.cnpq.br/8995827284576398; Cardoso, Antônio Marcos Souza; http://lattes.cnpq.br/0664807145882810; Cardoso, Antonio Marcos Souza; Borges, Lucas Rego; Lopes, Maico Viegas; Costa, Carlos Henrique Coutinho RodriguesThe classification of repertoire by levels of difficulty, using technical and musical parameters, is a practice consolidated in several countries and serves as a tool in teaching planning. However, this practice is not widespread in Brazil. Therefore, the objective of this research is to investigate the repertoire for solos bass trombone used in undergraduate programs in Brazilian Federal universities and propose a grading system to these pieces. The system was based on previously defined parameters; we observe range, rhythm and metric, articulation, duration, tempo, and key signature to determine the classification level. The data collection was done through bibliographical and documentary studies, prioritizing works dealing with classification of repertoire, its level of difficulty and identification of specifics challenges. Inevitably, we understand that gaps and inconsistencies will remain due to the substantial number of variables.Item Música brasileira para grupos de trompetes: possibilidades para interpretação de quatro técnicas estendidas selecionadas(Universidade Federal de Goiás, 2016-09-14) Silva, Elder Thomaz da; Cardoso, Antônio Marcos Souza; http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4256260T1; Cardoso, Antonio Marcos Souza; Costa, Carlos Henrique; Ronqui, Paulo AdrianoThe trumpet ensemble is an essential component in the formation of the trumpet player, however the search for repertoire for that kind of group, as well as bibliographies addressing its interpretative possibilities, is still a difficult task today. Most of the repertoire has not been edition and/or been made available to the public. The research that deals with the interpretation of trumpet music mainly comprises the trumpet solo repertoire. This research aims to present different possibilities for the interpretation of musical works that contain extended techniques. By using the internet, libraries and personal archive I listed fifty two pieces that were composed exclusively for trumpet ensembles. Fifteen of those works contain elements of extended techniques, being selected the ones that occur most frequently and which are produced by physical means without external intervention, depending exclusively on the interpreter's body (lips, tongue, throat) to be produced. We came to the conclusion of four elements: Pitch Bend, Frullato, Glissando and Half Valve. A total of nine works, which presents at least one element of the extended techniques mentioned, were selected in order to illustrate the possibilities of its interpretation in trumpet ensembles. The most challenging and important parts were highlighted to show how to apply those techniques, which can also be used in other works with similar characteristics.