Programa de Pós-graduação em Música

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A MÚSICA EVANGÉLICA DO MOVIMENTO PENTECOSTAL EM GOIÂNIA COMO FENÔMENO CONTEMPORÂNEO
(Universidade Federal de Goiás, 2010-03-31) ALMEIDA, Elza Oliveira de Souza; UNES, Wolney Alfredo Arruda; http://lattes.cnpq.br/3175091460062435
This research aims to promote reflection on the distortion of the gospel music of the Pentecostal movement in Goiania. For this purpose, will discuss the interaction between music and Radio Paz FM 89.5, considering the impact of globalization and, more specifically, the cultural industry in the expansion of the musical style known today as gospel. This study also examines the integration and the similarity of the Gospel song with the music called pop, that is developed out of religious grounds, pointing out similarities in the instrumentation, arrangements, musical, performances, radio broadcasting, television and public reception. The systematization of the research occurs in three chapters, each one makes a specific approach, based on the methods of critical by Imbert: historic and sociologist as well as the considerations of Guy Debord, in relation to the show. The observation with regard to Radio Paz FM 89.5 lasted twenty months. The theoretical framework was constructed from the results of responses obtained in interviews. The first chapter is focused on the historical field, addressing the development of religious music in the Old and New Testament Bible, the establishment of the Church in the Middle Ages and the religious reforms according to Grout Palisca, Collins Price and Stamps. The second chapter explores the Gospel, from its origins to the present time based on the reflections of Friendland, Baggio, Muggiati and Calado. The first part of the third chapter discusses the musicality of religion in Brazil and in Goiás , more specifically the history of Pentecostalism and the musical development of this segment supported by the authors of the social sphere: Mariano, Freston and Weber. Achieving the goals of this research, the second part presents Radio Paz FM 89.5, relating to the current context, called postmodern, based on various researchers - Featherstone, Lyotard, Harvey and others - within the globalization process, including the issue of globalization, the spectacle and consumption. Conclude that Gospel music is the great current phenomenon. You can ensure that this research represents only the beginning of the study of this phenomenon that tends to arouse more and more the interest of religious communities, evangelical or not.
Improvisação ao contrabaixo acústico com uso de arco na música popular brasileira instrumental (MPBI): estratégias de estudo e performance
(Universidade Federal de Goiás, 2010-03-31) ASSIS, Paulo Dantas de Paiva; RAYMUNDO, Sonia Marta Rodrigues; http://lattes.cnpq.br/5646455244693371
This paper discusses the use of bowing technique in improvisation with the bass in the Brazilian Instrumental Popular Music (MPBI). The main objective is to develop study strategies through a brief literature review on the bowing technique, its application in North American jazz and the characteristics of improvisation in MPBI. Thus, the paper discusses the results and presents them in the form of suggestion implementation. The paper is organized into three parts: 1) Review of literature on the use of the bow on strings instruments, 2) MPBI improvisation and 3) strategies for improvisation study on double bass with the use of bowing technique in MPBI. It can be concluded that the processes involved in improvisation on the double bass with bowing technique in MPBI have some particularities that should be objects of attention and study. Moreover, there are similarities in the use of the bowing technique in Classical Music, particularly the technique preparation. It also follows that the greater the knowledge of the peculiarities of bowing technique in improvisation, preparing technical and stylistic knowledge of the bassist, the performance will be better.
As canções de Osvaldo Lacerda com textos de Manuel Bandeira
(Universidade Federal de Goiás, 2009-04-27) BARROS, Fernando Passos Cupertino de; DIAS, ângelo de Oliveira; Dias, Ângelo de Oliveira
Cet article soulève des questions concernantes à la chanson d art brésilien, surtout à partir de l analyse des dix mélodies du compositeur brésilien Osvaldo Lacerda, dont les paroles appartiennent au poète Manuel Bandeira. Pour cela, l auteur se sert d une base théorique générale, associée à des éléments touchant le mouvement musical nacionaliste au Brésil. En plus, une liste d exemples complète les observations, surtout ceux qui on trait aux constances retrouvées dans la musique brésilienne. Finalement, il fournit des informations biographiques du dit compositeur, ainsi que l analyse des dix mélodies choisies pour cette étude, selon une méthode d analyse spécialement conçue pour cela. On y trouve également des observations du propre compositeur à l égard des morceaux analysés
Procedimentos composicionais na música de Edu Lobo de 1960 a 1980
(Universidade Federal de Goiás, 2010-03-26) BASTOS, Everson Ribeiro; FERNANDES, Adriana; http://lattes.cnpq.br/4049068003650520
This dissertation approaches the music by Eduardo de Góes Lobo, Edu Lobo (1943 -), from 1960 to 1980. The research identifies the characteristics of these works in context, looking at the compositional phases and considering the influences that built his style. Five compositions were selected, transcribed and analyzed taking into account the importance of the work and the final results reached by Edu Lobo as a composer and arranger. The diversity of procedures found in his works unleashed us from the traps of labeling styles and music genres. A theoretical framework was built around the concepts of identity, hybridism and style, related to his musical career and the elements found in the analysis. In addition, interviews with musicians who worked with Edu Lobo provided additional data to the research. The results show the music hybridisms used by Edu Lobo as a tool for the formation of his style and musical identity, or signature, pointing to the recurring and particular compositional elements in the works under scrutiny.
A PRESENÇA DE JEAN FRANÇOIS DOULIEZ NA MÚSICA EM GOIÁS
(Universidade Federal de Goiás, 2008-11-07) BITTENCOURT, Márcia Terezinha Brunatto; OLIVEIRA, Glacy Antunes de; http://lattes.cnpq.br/8416271201818890
This thesis focuses on the life trajectory of the Belgian conductor Jean François Douliez, specifically the period in which he lived in Goiania, where, identifying himself with the cultural and musical needs, he served in a competent and multifaceted way, as an educator, arranger, composer, conductor and interpreter. Based on documents obtained in public and private collections and through interviews, the actions of the conductor in the musical area of the capital of Goias are reconstructed, since the first time that teaching music in Goiania was institutionalized in Goiás State School of Fine Arts - EGBA of which derived the Goias State Conservatory of Music and later the Goias State Federal University Conservatory of Music, current Goias State Federal University School of Music and Performing Arts - Escola de Música e Artes Cênicas da UFG. The conclusion shows the conductor Jean François Douliez as cultural stimulator and developer of one of the cultural identities of the capital of Goias State, proves his fundamental influence in the construction of musical identity of Goiania and his contribution towards the insertion and consolidation of Music in Goias and Goias State Federal University
A flauta doce em um processo de musicalização na terceira idade
(Universidade Federal de Goiás, 2008-12-04) BUENO, Meygla Rezende; BORGES, Maria Helena Jayme; BORGES, M. H. J.
This research, of a qualitative paradigm, discusses the process of musical initiation of senior citizens, discussing some methodological proceedings which can be used as a means to provide a better condition of life for the elderly. For the development of the research, the recorder was chosen as instrument of early musical instruction. In the process of repertoire selection, with the intention of guaranteeing pleasure in the musical activity, pieces were chosen contemplating the taste, age and everyday life of the individuals envolved in the research. The research had as a theoretical basis the works of the authors Dalcroze, Orff, Kodály, Willems, Garmendia (1981), Swanwick (2003), Sekeff (2007), Rodrigues (2003), and Zanini (2003), among others. Based on a bibliographical research about musical education, old age, subjective well-being and the social image of these people, it was possible to observe the relation between music and elderly people, verifying how the former can act in the human being and help in successful aging. The data, collected through weekly observations/classes of a duration of one hour which extended over a period of ten months were analyzed in the light of the phenomenological and the existential method. The individuals musical notions were compared at the beginning and at the end of the observations/classes. With the comparison done, the result shows that the elderly were able to assimilate the content provided throughout the research. A questionnaire (for the verification of the elderly s profile) was applied, as well as the evaluations and statements of the individuals, a group of fifteen elderly people, members of the Association of the Elderly of Brazil/Goiânia. It was noticed, after the analysis of the data, that music supports successful aging, because it contributes to better socialization, communication, creativity, and motor coordination of the elderly.
Momentos brasileiros para piano a quatro mãos
(Universidade Federal de Goiás, 2004-04-29) CARNEIRO, Gyovana de Castro; OLIVEIRA, Glacy Antunes de; http://lattes.cnpq.br/8416271201818890
This research focus on the repertoire for four-hand piano in Brazil, presenting a musicograph research of pieces composed between 1890 and 2000. This paper also analyses five important moments of this repertoire, between 1950 and 1990, by choosing representative works by composers Edino Krieger, Cláudio Santoro, Ricardo Tacuchian, Henrique de Curitiba and Osvaldo Lacerda. This work concludes that the chosen repertoire, for its relevance and artistic qualitites, is representative of Brazilian musical creation.
A prática do canto coral juvenil como recurso integrador para o ensino técnico em música
(Universidade Federal de Goiás, 2011-03-29) CARNEIRO, Vinícius Inácio; DIAS, ângelo de Oliveira; Dias, Ângelo de Oliveira
The present study investigates the curriculum integration aspects provided by youth choir practice, as a curricular component in the study of music at the technical (High School) level. The starting point was the course program of the discipline Choral Singing, in the Technical Course in Instrument at the Goias Federal Institute (IFG), class of 2010, as it related to the rest of the program. This investigation was based upon the evaluation of applied questionnaires, as well as upon the artistic results obtained. The investigation is to be guided by evaluation of questionnaires during the search. Part of this work is dedicated to report the author's experience as a conductor of the IFG, with emphasis on the occurrence of curriculum integration elements throughout. It was possible to verify that the curriculum integration, still occurs in a partial manner at the above mentioned institution. Therefore, the full potential of this integration has not been achieved as yet.
Projeto canto orfeônico no Brasil: uma análise crítica à luz da pedagogia libertadora de Paulo Freire
(Universidade Federal de Goiás, 2010-11-19) COSTA, Cristiano Aparecido da; BORGES, Maria Helena Jayme; BORGES, M. H. J.
This research, of qualitative paradigm, is characterized as a bibliographical and documentary research. It was searched for historical, political and methodological information regarding the "Draft Orpheonic Singing" in Brazil looking, in the goals set for this style of musical teaching, for possible influences and/or ideological indoctrination of government prevailing in this period in Brazil. The data were analyzed based on Paulo Freire's Liberating Pedagogy. The overall objective is to demonstrate that musical activity of the "Project Orpheonic Singing" by Villa-Lobos, was used primarily as a means to instill ideology and not as an activity able to develop creativity and critical-reflexive consciousness of the student, real function of the music in the individual s formation. Thus, a critical analysis of the main objectives and also the music and text of three songs from the textbooks of that project was made considering Paulo Freire's Liberating Pedagogy.
O gesto como princípio formador em composições eletroacústicas
(Universidade Federal de Goiás, 2007-03-22) DIGNART, Maria Cristina; ALMEIDA, Anselmo Guerra de; http://lattes.cnpq.br/2322584898095049
In the context of electroacoustic music production, specially in the acousmatic version, the human gesture will not develop its primordial role - the utilized material, in this case, is obtained no longer exclusively by the physical action of an agent who produces it. In this tendency, the musical discourse is constructed by sounds and noises that no longer are obligatorily proceeding from determined musical instrument played by a performer, but created and processed in studio. Based on such premises, this present work has the intent of pointing possibilities of applications of the use of the gesture as a structural principle in the electroacoustic musical creation, through the compositions Trajetórias, Metagestos and Entre Planos. Three gestural approaches are used in the creation process. The first mentioned piece is the acousmatic work Trajetórias, where the use of the electroacoustic gesture is applied in its pure form, without explicit relations with instrumental gestures. Another approach is the also acousmatic piece Metagestos, where the creation of gestures used as material is done based on gestural instrumental models. The third case is the mixed piece for cello and electroacoustic sounds Entre Planos where, inside of the same musical context, the instrumental gestures interact with the electroacoustic gestures. With such compositional experiences, we believe that the use of gestures as structural principle may be a strategy, front to the new sound possibilities that in many times may relate with the lived musical experience of the listener, who may already possesses in his perceptual repertoire a range of sound motions that will be re-interpreted in electroacoustic context, being perhaps possible to provide a certain indirect familiarity with such motions.
Educação musical inclusiva - um estudo dos dados do Projeto Arte inclusão, do Centro de Educação Profissional em Artes Baliseu França (CEPABF)
(Universidade Federal de Goiás, 2010-09-27) DROGOMIRECK, Viviane Cristina; LEÃO, Eliane; http://lattes.cnpq.br/9925619017259931
This study proposed to deal with themes as inclusion, musical education, and de hole of music in inclusive education. Its is a qualitative study that analyses documental data resulted from the Art Inclusion Project, of the Center for Professional Education at the Arts Basileu França ( CEPABF) , that develops programs of music experiences and aims to promote inclusion as a alternative in education. Its objectives were to verify possible learning of subjects with special needs through the practice of arts, understood that inclusion is innovative; music being used to integrate with other arts, in an environment of extra-class learning period. The investigation methodology used for this work consisted of a detailed analyzes of organized data (corpus), from February to December 2008, provided by the CEPABF. The data was organized based on the (06) criteria from Bauer (2003), to guarantee a good practice for a qualitative research: 1 - the triangulation and reflexibility of perspectives; 2 the transparent documentation of the procedures; 3 the details of the construction of the corpus; 4 a detailed description of the results; 5 the evidence of the personal surprise; and 6 the communicative validation. Participated in the project professional as teachers, psychologists, music therapists; specialist in LIBRAS, specialists in music and circus arts. The data consisted of protocols written by the researchers involved in the program. The final conclusion is that the CEPABF proposal is a reference of music practice to promote inclusion being that it promotes learning. Its condition that guarantee differentiated care to subjects with specific disabilities by a specialized equip, combining different areas, promotes a motivated participation of subjects and creates concrete conditions for the empowering of children and youth. Brazil needs experiences as this one analyzed in this research work. The music schools, in accordance with the research centers as CEPABF can prepare new professionals to deal with the following challenge: - to motivate children with special needs through music; to motivate them so they can feel they are alive, integrated, participative and citizens.
Ensino musical escolar na matriz curricular do estado de Goiás: elaboração e aplicação de sequências didáticas na disciplina música
(Universidade Federal de Goiás, 2012-03-23) EMRICH, Ana Rita Oliari; CAMPOS, Denise álvares; http://lattes.cnpq.br/5224194761703249
This research was developed with the objective to investigate the contributions to social, cultural and musical of the implementation of the Music Curriculum Matrix elaborated by the Center for Study and Research Ciranda da Arte linked to the process of Curriculum reorientation of the Education Departament of the State of Goiás. The research is inserted therefore in the context of music education as a discipline of public basic education in the metropolitan area. In its development we were careful to contextualize the Music Curriculum Matrix from Goiás about the theoretical, historical, methodological and structural aspects. We seek to centralize our studies in its implementation, specifically about the elaboration e application of the Teaching Sequences. These were suggested as a didactic proposal for the implementation of the Music Curriculum Matrix in the classroom. After explaining the concepts and the process to develop these sequences, we present the data collected during its implementation in two public schools in Goiânia, trough classroom observations, questionnaires among students and interviews with the participants teachers. In the end, from data analysis and interpretation, we were able to describe the process of implementing these sequences, highlighting the achievements and the obstacles that arose. We could establish links between this process and the results and characteristics of the Music Curriculum Matrix from Goiás. The reflections that show up are important to understanding this historical moment for music education in Goiás public schools.
ARTES INTEGRADAS: características das práticas desenvolvidas em escolas de Goiânia
(Universidade Federal de Goiás, 2009-03-27) FARIA, Aline Folly; NASCIMENTO, Fernanda Albernaz do; http://lattes.cnpq.br/3197196510078601; CAMPOS, Denise álvares; http://lattes.cnpq.br/5224194761703249
The present research aims at describing the integration process among the artistic languages taking place in some schools in Goiânia. They are: Centro de Ensino e Pesquisa Aplicado à Educação Cepae/UFG (regular school), Centro Livre de Artes CLA (public school for the teaching of Arts) and Mvsika! Centro de Estudos (private school for the teaching of Arts). Thus the main theme in this work is the integrated arts. The option for such an approach is not based on a devaluation of the musical education or any other specific area of the artistic education. The work seeks a contextualization of education through art that takes into account the current needs and changes influenced by globalization and the efficiency of the information which has made the individual more demanding and thirsty for something creative and different. This integration can happen in many ways, which have been described as pluridisciplinarity, interdisciplinarity, and transdisciplinarity. Some principles, defended by specialists, can help to understand each of these integration forms and, in this work, give support to the description and analysis of the integrative processes. This study seeks to describe and to analyze the practices that involve this integrative methodology in three schools of Goiânia, presenting three case studies. In each of them, the specific characteristics and the coherence level between the concepts and the practice of the educators stand out. From the theoretical reference of this research, it is possible to distinguish the presence of principles that classifies the practices as integrative and that help to define the integration form proposed. These practices are described considering, also, the situation of the integrative experiences in other places around Brazil. To do so, contact with educators (ANPPOM, ABEM, FAEB) that work with integrated artistic languages was attempted. Although only a few answers were received, the information obtained help for a better understanding of the data collected in the schools of Goiania. Considering the description of the reality of each school, relations between the information obtained through observation and the questionnaire are established, which brings a broader view of each process. Finally, the specificity of each practice is focused, as well as the common aspects of all of them, of what brings them together or draws them apart from the theoretical reference of this work and the practices described by educators of other parts of Brazil.
Distonia focal e a atividade do instrumentista de sopro
(Universidade Federal de Goiás, 2012-03-31) GARCIA, Ricardo Rosembergue; RAYMUNDO, Sonia Marta Rodrigues; http://lattes.cnpq.br/5646455244693371
This paper discusses the musician's dystonia and its relationship to performance on wind instruments. The work presents from the literature review on the subject the concept of dystonia, as well as the musician's focal dystonia of its main causes and symptoms related to instrumental practice and lists possible ways of prevention based on the aspects of preparation and holding of musical performance and situations related to the theme. The survey data were obtained through consultation with professional musicians in the city of Goiania. The results revealed several meanings of musical practice and overuse, health problems related to performance anxiety and musical performance and still making music that can overcome the physical and mental limits of the performer. Due to the incidence of psychophysical problems in musicians, undertook a discussion about the possibility of developing disorders in brass and it was concluded that the musical performance can generate states of illness and development of disorders such as focal dystonia of the musician. It was recommended a few precautions to be taken as preventive measures for occupational illness.
Pixinguinha e Dino Sete Cordas: reflexões sobre a improvisação no choro
(Universidade Federal de Goiás, 2009-04-27) GEUS, José Reis de; FERNANDES, Adriana; http://lattes.cnpq.br/4049068003650520
Choro consists of a musical movement expressing the popular culture of Rio de Janeiro city, originated around 1870, connected with a gradual process of brazilianization that is, an interpretation style of playing European genres with large use of syncope, played for dance. Choro turned into a musical genre on the first decades of the 20th century, until the Radio Era (here understood as the 1930-45 period), based on an instrumental formation called conjunto regional . Among many groups, there was the Regional de Benedito Lacerda (Lacerda´s Group), which had as its integrants, Pixinguinha and Dino Sete Cordas, the focus of this work. Through the transcription and analysis of the recordings played by Lacerda´s Group in the album entitled Benedicto Lacerda e Pixinguinha (released in 1966 with recordings made between 1946-1951) it was possible to verify the melodic lines and performance style of Pixinguinha´s saxophone and his influence on the seven-string-guitar player Dino Sete Cordas in the album entitled Choros Imortais (1964), recorded by Altamiro Carrilho with Regional do Canhoto (Canhoto´s Group). Pixinguinha s performance on the recordings was based on pre-established improvisations possibly due to recording limitations. Dino Sete Cordas was very close to Pixinguinha and also had him as a model. Because of this contact, among other factors, Dino Sete Cordas came up with a characteristic interpretation style, and individual performance concept and a performance school which influenced countless musicians and contributed for a systematization of seven-strings-guitar´s study
Estudo sobre a inserção do musicoterapeuta na Equipe Multiprofissional da rede estadual de apoio a inclusão de Goiás.
(Universidade Federal de Goiás, 2011-06-11) GOMES, Carolina Gabriel; TEIXEIRA, Célia Maria Ferreira da Silva; http://lattes.cnpq.br/3118169145780440
This research masters, developed in the graduate program in music of EMAC-UFG, in the line of research on music education and music therapy. Sought to verify the possibility of entering the professional music therapist in Multiprofessional Team from the Secretariat of education of the State of Goiás, to expand the actions developed through speeches musicoterapêuticas, enjoying the support and guidance schools met. It is believed that through music and its elements, used a musicoterapêutica approach, it is possible to develop positive relationships between students and teachers, family, favouring, qualitatively, the school environment. The theoretical reference is based on interdisciplinary studies in education, music therapy, Systemic Theory and studies about groups and teams. Qualitative character search based on case study using the participant observation, interventions music therapeutic and semi-structured interviews and data collection instruments, a sustained listening multidirectional performance music therapeutic mediating observations, actions and understandings about school context as a whole. Unable to experience the routine work of Multiprofessional Team, and identify difficulties as the disarticulation and contraposition of speeches that permearam the educational environment as well, to identify actions which the music therapist can develop to be inserted in it. Expanded the field of professional music therapist, allowing his performance in different spaces with diverse clienteles. Breaking paradigms was possible through the Systemic Theory and complex thought that aggregates the disciplines and sees school as a living organism in constant transformation.
Conteúdos programáticos para formação em curso técnico de performance pianística: Conservatório Estadual De Música Cora Pavan Capparelli
(Universidade Federal de Goiás, 2009-03-31) GONÇALVES, Shirley Cristina; LABOISSIERE, Marilia Vargas Paes Barreto; http://lattes.cnpq.br/4078687034986938
This research work has a relation with the theme of the pianistic teaching programs. Its focus is the dissatisfaction and conflicts produced between teachers and students in the piano learning process. According to the situation, this investigation is directed to the study of none correspondence between scheduled subjects required at the Cora Pavan Capparelli state music school s piano technical course (located in Uberlândia MG) and student s reality that are put in this teaching program. With intention of ponder such conflicts, the research objective is analyze subject and historic, social, cultural configurations of graduate program in pianistic performance of this institution, beside investigate built experiences by some former students. The discussion topics focus constitution of the first European music schools and, under its influence, the rise of the first Brazilian music school; draw the creation way of Minas Gerais state music schools and, above, the creation and enclosing over Minas Gerais state of Uberlândia s Music School; and still, organize in systems and details information existent inside Uberlândia s Music School pianistic teaching program. Theory discussion molten and statements gathered from institution s former students, we can analyze the existent relation of force and facing inside the music school responsible by clang, mainly, the opposition: scholar music versus popular music. Some commentaries and suggestions are also showed referent changing actions necessities and possibilities to the pianistic teaching in this music school. The research consolidates basics affirmatives of pianistic teaching performance about student s musical life multiplicity that are put into it, showing why this teaching must have like standard a dialogue between subjects broached and ethnic, cultural, social diversity of the people who support it
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/6899356660881342
This 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.
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/6899356660881342
This 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.
Orquestração e instrumentação no nacionalismo: Um estudo de quatro obras representativas do repertório sinfônico brasileiro
(Universidade Federal de Goiás, 2011-03-25) LUCAS, Juliano Lima; COSTA, Carlos Henrique Coutinho Rodrigues; http://lattes.cnpq.br/5091807553556414
This research analyzes the orchestration and instrumentation of four pieces that appear within the nationalist school of Brazil, looking for its external influences, creative processes, similarities, differences and particularities. The four works are: Série Brasileira (1888-1896) by Alberto Nepomuceno (1864-1920), Choros nº10 (1926) by Heitor Villa-Lobos (1887-1959), Chôro para Violino e Orquestra by Camargo Guarnieri (1907-1993) and Maracatú do Chico-Rei (1933) by Francisco Mignone (1897-1986). The work‟s orchestration techniques and functions are analyzed through surveys and descriptions of its usages, comparison with other reference works, reflections on their differences and similarities in relation to suggestions of important treatises on the subject. We conclude that composers broke the tradition off and kept it at the same time. They assimilated the popular and classical sources to conceive an anthropophagic music, distorting and adapting the foreign traditional aesthetics and used them in an original manner. This is a Brazilian characteristic, that is pluralist and not exclusivist, a culture formed by cultural hybridism. Therefore, there is not a unique identity in the studied works, but a multiple symphonic identity, characteristic of the Brazilian nationalism.

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