THE CLARINET AND PIANO WORKS OF ERNST MAHLE: A COLLABORATIVE PIANIST’S PERSPECTIVE

Ernst Mahle is a German-Brazilian composer who not only became a Brazilian citizen but also a reference for Brazilian classical music. His vast list of compositions includes works for all major genres, as well as containing instrument combinations that are not mainstream. In addition to being a composer, Mahle dedicated a big part of his life as a pedagogue, as a teacher and as the director of the Escola de Música de Piracicaba (Piracicaba Music School). Through research on Mahle’s biography, compositional styles, and an interview with the composer, the purpose of this paper is to study his four clarinet and piano works and to write a performance guide with the perspective of the collaborative pianist. This guide offers some suggestions on piano technique, ensemble, dynamics, and balance, among other elements

Brenno Blauth’s Compositional Style Elements: A Study on the Sonata for Flute and Piano, T.5.

The Sonata para Flauta e Piano, T.5, by Brenno Blauth (1931-1993), is a standard of the Brazilian flute repertoire. This document studies its folk and Brazilian popular music elements in order to better understand Blauth’s compositional rationale. In 1959 Blauth was responsible for the creation of the group Movimento Musical Renovador. Based in Rio de Janeiro, MMR gathered renowned composers and performers with the goal of promoting Brazilian classical music. Chapter III is dedicated to the group’s initiatives, taking its political and cultural contextualization into account. Chapter IV is dedicated to the study of Blauth’s compositional style shifts between 1958 and 1976. Six works were selected for this purpose: Sonata para Flauta e Piano, T.5 (1958); Quinteto de Sopros No. 1, T.18 (1962); Concertino para Flauta e Cordas, T.21 (1964); Quinteto de Sopros No. 2, T.36 (1969); Enigma, T. 49, for flute and guitar (1974); and Sonatina para Flauta Tranversal/Flauta Dôce Contralto e Piano, T. 57 (1976). The goal is to elucidate his compositional career and to promote his music, which has received more attention in the last decade but remains largely unknown. Some of the works consulted have not yet been published. This work also includes a concise biography

A Performance Guide for Heitor Villa-Lobos's Quatro Canções Da Floresta Do Amazonas

abstract: This paper is a performance guide for Quatro Canções da Floresta do Amazonas [Four Songs of The Amazon Forest] by Brazil's most prolific composer, Heitor Villa-Lobos. The primary purpose of the paper is to serve as a source for the correct pronunciation of the Brazilian Portuguese language of the songs. It will begin with an overview of Heitor Villa-Lobos's life and career, showing how his compositions catalyzed the Nationalistic movement in Brazilian classical music. His inclusion of native and folk elements into classical compositions was a significant innovation, which places Villa-Lobos as one of the most important Brazilian classical composers. Furthermore, this paper will explore the issue of Brazilian Portuguese diction in depth, using the Quatro Canções da Floresta do Amazonas to aid non-native Brazilian speakers. This includes an International Phonetic Alphabet transcription of the songs, as well as a recording of the songs being read and sung by the author, a link to which can be found in the appendix.Dissertation/ThesisDoctoral Dissertation Music 201

Villa-Lobos: Brazilian classical music as a regional canon in relation to native music

This work aims to study the possible relations between the canon in Western music and Brazilian classical music. For this, we present some considerations of the composer Heitor Villa-Lobos on Brazilian music, as well as characteristics of his works with indigenous theme. Afterwards, these relations will be confronted with the very manifestations of Brazilian native music.O trabalho pretende estudar as possíveis relações entre o cânone estabelecido na música do Ocidente, comparando-o com a música erudita brasileira. Para isso, apresentaremos algumas considerações do compositor Heitor Villa-Lobos sobre a música brasileira, bem como, características de suas obras com temática indígena. Em seguida, essas relações serão confrontadas com as próprias manifestações da música nativa brasileira

Clube Da Esquina 1970-1972: a compositional analysis according to Ron Miller\u27s modal jazz concepts.

The main goal of this paper is to analyze the harmonic and melodic transcriptions from the LPs Milton and Clube da Esquina according with the book Modal Jazz Composition and Harmony by Ron Miller in order to exemplify the compositional idiosyncrasy from Milton Nascimento, and especially, Lô Borges. The result is that Borges has a linear approach to write melodies while his vertical line has the use of open strings chords with mixed upper structures such as tertian, quartal and clusters

New Horizons in Brazilian Contemporary Music: Grupo Novo Horizonte de São Paulo, 1988-99

Brazil's foremost ensemble of the late twentieth century, Grupo Novo Horizonte de São Paulo, transformed Brazilian contemporary music by cultivating a new mixed-chamber repertory and giving sustained support to a generation of emerging composers. That this cosmopolitan group took, then outgrew, the Pierrot ensemble as its cornerstone signals the medium it forged: a localized, evolving spectacle with a richly internationalist heritage. This article offers a panoramic view of the musical, intercultural and historical contexts that underpin Grupo Novo Horizonte's practices and legacy. Analysing landmark works by Sílvio Ferraz, Harry Crowl and others allows us to draw further connections between the group, the Brazilianness of late twentieth-century compositional aesthetic, and the realities of contemporary classical music-making in Brazil

New Horizons in Brazilian Contemporary Music: Grupo Novo Horizonte de São Paulo, 1988-99

Brazil's foremost ensemble of the late twentieth century, Grupo Novo Horizonte de São Paulo, transformed Brazilian contemporary music by cultivating a new mixed-chamber repertory and giving sustained support to a generation of emerging composers. That this cosmopolitan group took, then outgrew, the Pierrot ensemble as its cornerstone signals the medium it forged: a localized, evolving spectacle with a richly internationalist heritage. This article offers a panoramic view of the musical, intercultural and historical contexts that underpin Grupo Novo Horizonte's practices and legacy. Analysing landmark works by Sílvio Ferraz, Harry Crowl and others allows us to draw further connections between the group, the Brazilianness of late twentieth-century compositional aesthetic, and the realities of contemporary classical music-making in Brazil

Музикално-стилови характеристики на бразилския валс: Национален музикален език във Valsa de Esquina No. 8, Valsa de Esquina No. 12, и Valsa-Chôro No. 5 от Франсиско Миньоне : Автореферат на дисертационен труд за присъждане на образователна и научна степен „доктор“

ABSTRACT: The dissertation consists of 184 pages. The presentation is structured as follows: summary, four chapters, conclusions, appendix, reference sources, bibliography. The contributions of the dissertation are presented. A bibliography containing 106 sources in English, Spanish, Portuguese is attached. This dissertation aims to identify the socio-cultural factors that influenced the waltz in Brazil and specify the aspects, the language and the musical meaning that determined the creation and the national importance of the Brazilian Waltz. As one of the most recognized second‐generation Brazilian nationalist composers, Francisco Mignone excelled at the creation of 61 waltzes for which his urban themed, nationalistic rooted compositions reflected the early decades of the twentieth century. Certainly, the prolific nature of his waltzes justifies the reference to Francisco Mignone as ‘The King of Waltz’, and gives validity to this extraordinary man’s inclusion in this research. As a reference, a reading considering musical points decisive in his Valsa de Esquina No.2, Valsa de Esquina No.5, Valsa de Esquina No. 8, and Valsa-Choro No.5. Furthermore, the research will undertake an exploration of the history of Brazilian classical music. РЕЗЮМЕ: Дисертационният труд се състои от 165 страници. Изложението е оформено в: резюме, четири глави, заключение с изводи, приложение с нотни партитури на Франсиско Миньоне, референтни източници, библиография. Изведени са приносите на дисертационния труд. Приложена е библиография, съдържаща 106 източника на английски, испански и португалски езикци. Дисертацията има за цел да идентифицира социокултурните фактори, които са повлияли на жанра валс в Бразилия, да уточни аспектите, езика и музикалното значение, които обуславят създаването и националното значение на „бразилския валс“. Като един от най-признатите бразилски композитори от второто им поколение, Франсиско Миньоне изпъква със създаването на шестдесет и един валса, в които неговите градско-тематични, национални композиции, отразяват началните десетилетия на ХХ век. Естеството на неговите валсове и значението му за националната музикална култура на Бразилия, обосновава позоваването на Франсиско Миньоне като „краля на валса“ и включването на тази изключителна личност в това научно изследване. Като ориентир за неговата личностна стойност като композитор и общественик, научната интерпретация взема предвид решаващи музикални етапи в неговите композиции: Valsa de Esquina No. 2 в ми бемол минор; Valsa de Esquina No. 5 в ми минор; Valsa de Esquina No. 8 в до диез минор и Valsa-Chôro No. 5 в си бемол минор. Освен това, изследването предприема проучване на историята на бразилската класическа музика

Choros N. 10 by Heitor Villa-Lobos: Analyzing the Themes and Compositional Techniques of Brazilian Modernism

Heitor Villa-Lobos (b. March 5, 1887 - d. November 17, 1959) can be considered the most important composer in Brazilian music history. Although the composer is listed as one of the most influential composers in the history of the guitar, he reached his peak in his works for piano and symphonic groups. Works such as A Prole do Bebê (1 and 2), and the series of Chôros, came out during an extremely convoluted time, where Brazilian artists engaged in seeking an artistic representation of a unique Brazilian identity. Those works not only satisfied the hunger, but pushed the movement to a new level, which, some would argue, has never been surpassed by any other composer. Unlike his work for the guitar, on which hundreds of analyses and articles can easily be found, Chôros No 10 has had little to no attention from a theoretical viewpoint. Being considered perhaps Villa-Lobos’ masterpiece, this piece brought what is most Brazilian into classical music, with a calculated European influence among genuine Brazilian characteristics made into music. To date, there have been many writings about Chôros No 10 from a historical perspective. The theoretical writings about this piece are few, and in my research I was not able to find any such writings that were exhaustive or very in depth. This thesis analyzes the elements in Chôros No 10, such as themes and harmonic implications, linked to the historical background of the Brazilian Modernism in music

Villa-Lobos\u27 Choros No. 5 - Alma Brasileira (Brazilian Soul)

Villa-Lobos (1887-1959) is one of the most famous Brazilian composers of all time. He is known for composing in a unique and exotic style, especially given his frequent use of Brazilian elements in his music. He is also associated with Brazilian Modernism, most notably for the nationalistic influences in his compositions. Scholars agree that one of his greatest works is his set of Choros, composed during the 1920s. His Choros no. 5 (composed for solo piano) exemplifies characteristics of Modernism, nationalism and Brazilian popular music. The purpose of this thesis is to try to identify these elements in his Choros no. 5 and to try to understand the influence they may have for the work’s performance. This thesis discusses Villa-Lobos’ life and influences during his early years; Brazilian Modernism (associated with nationalism); the choros genre as a popular music manifestation; and finally, Villa-Lobos’ set of Choros, focusing on Choros no.5