Aspectos do nacionalismo pianístico do Rio de Janeiro dos anos de 1930

Dentro do recorte temporal dos anos 1930-1940, esta tese pretende investigar de que forma as características e especificidades da corrente nacionalista e do Nacionalismo musical se espelham na criação artística e musical brasileira em especial no corpus da obra para piano solo para concerto daquele momento. A investigação consiste em dois momentos distintos de pesquisa, sendo o primeiro compreendido de revisão bibliográfica sobre a corrente nacionalista, Nacionalismo e Nacionalismo musical, além de uma contextualização histórica acerca dos anos 1930 no Brasil, Europa e Estados Unidos da América e também biografia de compositores nacionalistas brasileiros do período; seu segundo momento compreende elaboração de dados acerca de programas de concerto de piano relativos ao Nacionalismo musical, análise de peças além de discussões acerca de notícias de periódicos daquele momento. Discussões em torno de problemáticas correlatas ao tema são aqui também proporcionadas.

Psycho-physio dynamics in violin-piano duo: a pianist's perspective

The case study looked at psychological and physiological responses to stress in musicians, comparing a newly formed and a consolidated violin-piano duo. The common element between these duos was the pianist. Using the psychological tests (STAI Y1 and Y2, K-MPAI, MMPI-2, ICAC), the immunoassay saliva test to measure cortisol (stress hormone) and non- invasive device VitalJacket® developed at the University of Aveiro, Portugal, participants were monitored under various performance conditions. Others quantitative and qualitative dataset were collected including a pianist’s personal diary (analyzed by psychiatrist), semi-structured interviews with members of long-terms chamber music duo and perceptual evaluations (listening test) of the performances by expert listeners. The variables included two performance venues (European university and secondary school), as well as well-known repertoire, recently known repertoire and newly known repertoire. The latter was given approximately one week before each recital. The psychological and physiological dataset were collected for a total of eight recitals – two series of four recitals each. The unexpected results show that state anxiety levels and stress of the pianist, who does not present an anxious profile, either in social or in musical terms, are always higher when playing with a well-known partner. Possible explanations may be due to the highest expectations for quality of performance and implications of mirror neurons (since the reactions are very different according to the partner). In other words, the “known” (i.e., the consolidated duo) can become “trapped” within a predetermined space, especially at the psychological level, while the “unknown” (the occasional duo) seems to be less involved and therefore more reassuring and exciting in positive terms. In addition, the preference of the expert audience is for the consolidated duo.