Machado de Assis em contos :Uma constelação de partituras

This work aims at encouraging the reading or rereading of tales such as Um homem célebre , Cantiga de esponsais , Terpsícore , Trio em lá menor , O machete , and Marcha fúnebre from the Brazilian writer Joaquim Maria Machado de Assis, hoping to find in them the manifestations of musicality, which is understood, from the viewpoint of contemporary musical theories, as dinamicity indications resulting from the melopaico (melodious verse) stimulus to the understanding of words and/or images, which are inserted in the writing static body from the literary procedures transferring to the text specific characteristics from other arts, such as music, poetry, performatic dance e theater. Such procedures, which are reflected in the writing as a product of Machado s close repertory, often favor, through the fiction, the delineation of the musical context from Rio de Janeiro in the 19th century, as well as the social implications that the transformations of the musical scene impose on the subjectivity constitution

A aurora do (forte)piano

Este artigo revisita a aurora do fortepiano, instrumento que se tornaria ponto de convergência no fazer musical de fins do século XVIII até meados do XX, e apresenta referências documentais sobre o início da invenção da mecânica de Bartolomeo Cristofori, bem como documentações de outros projetos não Cristoforianos.

Iniciação musical ao piano para crianças: um olhar sobre a prática pedagógica em conservatórios da cidade de São Paulo

Pós-graduação em Música - IA

A relação entre Música e Poesia nas canções para Voz Aguda e Piano de Bruno Kiefer

Pós-graduação em Música - IA

A evocação de sonoridades instrumentais na escrita para piano no ciclo Winterreise de Franz Schubert

Pós-graduação em Música - IA

Quadros de uma exposição para violão solo por Kazuhito Yamashita: um estudos dos efeitos técnicos a partir da comparação com o original para piano e a orquestração de Maurice Ravel

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Análise comparativa do uso da tabela fonética do português brasileiro cantado por cantores argentinos com e sem o uso de um recurso áudio visual

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A influência da música eletroacústica sobre obras para piano de György Ligeti e a criação de estilemas pianísticos

Pós-graduação em Música - IA

Revisão crítica das canções para a voz e piano de Heitor Villa-Lobos: publicadas pela Editora Max Eschig

Esta revisão crítica apresenta uma análise do conjunto de canções de Heitor Villa-Lobos (1887-1959), publicado pela editora Max Eschig de Paris. As trinta canções publicadas formam um painel importante do estilo vocal e pianístico do compositor, pontuando praticamente toda sua vida criativa. O trabalho respeitou a ordem cronológica da criação das coleções de canções: de 1919 e 1946. Além das trinta canções publicadas, incluiu-se no trabalho as três canções não publicadas que fazem parte da série Canções Típicas Brasileiras. Tais obras estão depositadas nos arquivos do Museu Villa-Lobos no Rio de Janeiro, Brasil.

Lendas para cantar: Uma análise dialógica do discurso das canções amazônicas de Waldemar Henrique

Pós-graduação em Linguística e Língua Portuguesa - FCLAR

Using Three Dimensional Motion Capture Technology to Describe and Assess Piano Technique: A Case Study

The purpose of the study was to examine any differences that exist in the quality of motions employed by pianists when they are sight-reading versus performing repertoire. A secondary question of interest was whether or not an improvement in the efficiency of motion could be observed between two sight-reading trials of the same musical excerpt. While data analysis for the full study is ongoing, the following results from a case study are illustrative.

Bach-Busoni Chaconne: A Piano Transcription Analysis

In 1893 Ferruccio Busoni transcribed, for the piano, the famous Bach Chaconne for violin solo from the Partita No.2 in D minor. Numerous transcriptions of this piece for different various instruments exist; however Busoni's transcription stands above all others. The purpose of this study was to analyze what the famous, twentieth-century pianist did when he transcribed Bach's Chaconne. What information exists on the topic comes primarily from pianists who dared to learn this exceptionally difficult, beautiful composition. Busoni's accomplishments lie in the new concept, a conceptual transcription, which has two roots: understanding how, historically, we are connected to the music, and how once genres have a special meaning in the twentieth-century. Every generation of musicians brings their own specific point of view and interpretation. Busoni lived on the border of the two centuries and, in his transcription, reveled in several issues overlooked by the previous generation. With his keen understanding of the piece, Busoni highlighted many different genres present in the music, thus allowing recognition of the last movement of the Partita No. 2 in D minor as a Requiem for Bach's wife. By underscoring the genres, Busoni used them as strata. The idea of strata comes from the aesthetics of “play,” and from a different approach to the quality of sound on piano originally intended for a high string instrument. Busoni's arrangement of the texture added both orchestral quality and stereophonic perception. The strata add to a certain reading of Bach's original. Busoni promoted a dramatic approach opening the possibility of reading the chaconne as a multi-layered form. Through Busoni', we see the possibility not only of a tripartite, variation form, but also a composition, with the elements of a concerto, and a sonata. Who could imagine, that a composition written by a young composer at the fin de siecle, intended for practical use by pianists, would subtly influence so many contemporaries and generations, that they will find his findings and music inspiring. Adviser: Dr. Mark K. Clinton

The Prelude from Suite for solo Piano Le Tombeau de Couperin by Maurice Ravel: compositional and interpretive considerations

This article, part of a doctoral research conducted at the Department of Music of the ECA/USP/FAPESP aims to elucidate compositional and technical procedures in the Prelude from the suite Le Tombeau de Couperin (1914-1917) by french composer Maurice Ravel. Such procedures are traced back to French barroque composer Francois Couperin (1668-1733) harpsichord pieces, and are translated by Ravel to the modern piano. Thus, by studying the works for harpsichord by Couperin it was possible to see a kind of fusion of two languages and two instrumental techniques apart in time. This fusion of languages poses several interpretive questions.

Estudio de la enseñanza del pedal de resonancia del piano a través del análisis de las obras pedagógicas: diseño de una propuesta metodológica para su enseñanza

Programa de doctorado: Formación del Profesorado