Programa de Pós-graduação em Música
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Navegando Programa de Pós-graduação em Música por Por Orientador "AGUIAR, Werner"
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Item Preparação e planejamento da performance do violonista: estudo da obra homenagem a Villa-Lobos Op.46 de Marlos Nobre(Universidade Federal de Goiás, 2012-04-03) KAMINSKI, Leonardo Casarin; AGUIAR, Werner; http://lattes.cnpq.br/6899356660881342This paper presents the preparation and planning for the performance of a piece for solo guitar. For this purpose, the guitarist used pre-selected teaching and instrumental materials over the course this investigation. The criteria used to choose the piece were that it should reflect the technical and musical aspects of the repertoire commonly involved in academic training of guitar students. The piece Homenagem a Villa-Lobos op.46 by the composer Marlos Nobre was chosen. The preparation of this piece was divided into four stages: 1) Definition of goals and objectives; 2) scheduling, planning the construction of the performance ; 3) Choice of the fingering; 4) Solution of motor difficulties; 5) musical memorization. The accomplishment of these steps in this investigation was based on the theoretical references chosen. This end-of-course article is divided into two main parts. The first part contains materials from the literature search and selected during the research. Finally, a report about the preparation of the musical work was prepared, in which the steps and processes of choices are described on the basis of the previously established literature for the preparation of an instrumental work.Item O estilo composicional de Marco Pereira presente na obra Samba Urbano . Uma abordagem a partir de suas principais influências: a música popular brasileira, o jazz e a música erudita(Universidade Federal de Goiás, 2012-03-30) LEMOS, Julio Cesar Moreira; AGUIAR, Werner; http://lattes.cnpq.br/6899356660881342This paper regards Contemporary Brazilian Popular Music and it aims to present the compositional style of Marco Pereira based on a case study of its work Samba Urbano , composed for solo guitar, in 1980. Marco Pereira presents elements of jazz, classical music, and Brazilian popular music, as well as idiomatic features of guitar, as his main references. The use of Parallelism , influenced by Villa-Lobos and Leo Brouwer, is found in Samba Urbano . As far as the rhythmic and harmonic aspects, it is possible to find the influence of Garoto, Radamés, Gnattali and Baden Powell. It can be seen in Samba Urbano aspects of jazz, such as the improvisation character, the use of modal harmonies and the changing of scales. Lastly, the influence of French impressionist music, by Debussy and Ravel, such as the use of harmonies over whole tones scales and chords of fourth.Item Referenciais para o ensino de violão na formação do musicoterapeuta(Universidade Federal de Goiás, 2010-04-30) TEIXEIRA, Levi Trindade; SÁ, Leomara Craveiro de; http://lattes.cnpq.br/2647704768201448; AGUIAR, Werner; http://lattes.cnpq.br/6899356660881342This work, in view of encompassing a interdisciplinary research, presents as theoretical references, knowledge in the areas of high learning education, Music Therapy and Musical Education. In general, the guitar teacher, while involved in the teaching of Music Therapy is frequently faced with specific challenges in the area where the guitar traditional teaching methods, popular or erudite neglect. Thus, some questions have been raised, amongst them: 1) Would the guitar graduation in Music therapy offer the graduate the necessary skills for him to face the real demands of the profession? 2) Which playing abilities would the music therapist have to achieve? 3) Which contents the music educator do have to know in Music therapy to orient and contextualize his classes? In order to respond to these questions, this research has the general objective of describing, analyzing and comparing knowledge in the area of Musical Education as well as in Music Therapy in a interdisciplinary perspective for instrumental graduation guitar practice of the graduate and the music therapist. For this purpose, it made use of a collection of data performed into two phases: 1) structured interviews of professionals in Music therapy possessing more than three years of experience, pupils in Music Therapy and guitar teachers involved in the graduation of music therapists; 2) participating observation in three fields of training correlated to the EMAC-UFG graduation course in Music Therapy. The data processing activity took place by means of a contents analysis and, later on, those data have been divided in categories concerning the recurrent information. In this manner, at the end of this analysis, ways to the guitar teaching became evident in accordance with the needs in the area of Music Therapy.