A escrita de Roberto Victorio nas peças Aztlan e Chronos III para violoncelo solo

The cello has a prominent place in the music of Roberto Victorio, due to the fact the composer is a cellist and knows the idiomatic and technical aspects of the instrument. This article analyzes the skills and knowledge necessary to the performance of the works Aztlan and Chronos III for solo cello. As methodological procedure the work was built in three stages: at first a study on notation in the works of Victorio was develeped and how the concepts of desperception, timbre, time and space influence his writing. In a second moment the author made an interview with the composer and finally held performances and recordings of works using the concepts researched in the first two steps.

Técnicas estendidas na obra Traçado Íntimo e Hesitante para violoncelo solo de Bruno Ângelo e sua utilização na iniciação ao violoncelo

This works sheds light on the technical challenges regarding the use of extended techniques at the piece “Traçado Íntimo e Hesitante” by Bruno Angelo and the use of some of these techniques in the cello initiation. The main goal of the research is to provide cellists interested in the performance of the piece with ideas to surpass the technical difficulties as well as to introduce new ideas of using sound materials of contemporary music in the beginner cello teaching.

Sept Papillons de Kaija Saariaho: uma análise dos elementos técnico-interpretativos

Sept Papillons by Kaija Saariaho is a relevant piece in the contemporary cello repertoire. This research aims to study the context of the piece and approaches the technical and musical challenges presented in the work. As a methodological procedure, authors like MOISALA (2009) and VICTORIO (2015) were studied, giving basis to the understanding of the compositional process and to the analysis of the gestures proposed by the composer. Following, an interview was carried out with Natasha Farny, a cellist recognized for her performance of the work and utilized as reference, together with the Korean cellist Seung Ri Jung´s performance and the recording of Anssi Karttunen, to whom the piece was dedicated. Whilst the research of the bibliographical material and the interviews were taking place, the piece was studied and performed at the Masters of Music Program at UFRN. The experience obtained by the recitals and the research resulted in suggestions for cellists interested in its study and performance.

Uma descrição sonora contemporânea do imagético tradicional armorial como subsídio para abordagens interpretativas do ciclo de canções “Visagem” de Nelson Almeida

This study suggests sonorous ambiences from the propose of images configured according to the description in “A Visagem da Moça Caetana” by Ariano Suassuna in order to create individual sonorous possibilities that may help musicians to play the piece. The cycle, composed in 1996 (for voice, viola, cello, bass clarinet/clarinet), is formed by three untitled songs. Its text is an excerpt from the “Folheto XLIV”, from the Romance d’A Pedra do Reino e o príncipe do sangue do vai-e-volta, and describes a sentence of death illustrated by symbols of the Armorial imagery, with neologisms and the peculiar accent from the Sertão in northeast Brazil. In addition to the analysis of technical difficulties to play, this study informs interpreters of the sonorous timbre and texture used by Nelson Almeida to describe tradition through contemporary musical language. The metaphors and transgressions of reason in Suassuna’s book were explored to create three image compositions so that they may lead interpreters to the sonorous description of the inanimate objects and the affections to which the poetry refers, expanding any technical-interpretative indications limited by musical notation. This research used the Visagem scores, the literature on the theme, discussions with the musicians that played the piece, interviews with Almeida, and composers’ reports. To illustrate the theory, the three images are available, printed as woodcut in cordel literature.

"Double Rainbow," "Appalachiana," and "'The Invisible Mass': Exploring Compositional Technique in Alfred Schnittke's Second Symphony"

This dissertation consists of three distinct components: (1) “Double Rainbow,” a notated composition for an acoustic ensemble of 10 instruments, ca. 36 minutes. (2) “Appalachiana”, a fixed-media composition for electro-acoustic music and video, ca. 30 minutes, and (3) “'The Invisible Mass': Exploring Compositional Technique in Alfred Schnittke’s Second Symphony”, an analytical article.

(1) Double Rainbow is a ca. 36 minute composition in four movements scored for 10 instruments: flute, Bb clarinet (doubling on bass clarinet), tenor saxophone (doubling on alto saxophone), french horn, percussion (glockenspiel, vibraphone, wood block, 3 toms, snare drum, bass drum, suspended cymbal), piano, violin, viola, cello, and double bass. Each of the four movements of the piece explore their own distinct character and set of compositional goals. The piece is presented as a musical score and as a recording, which was extensively treated in post-production.

(2) Appalachiana, is a ca. 30 minute fixed-media composition for music and video. The musical component was created as a vehicle to showcase several approaches to electro-acoustic music composition –fft re-synthesis for time manipulation effects, the use of a custom-built software instrument which implements generative approaches to creating rhythm and pitch patterns, using a recording of rain to create rhythmic triggers for software instruments, and recording additional components with acoustic instruments. The video component transforms footage of natural landscapes filmed at several locations in North Carolina, Virginia, and West Virginia into a surreal narrative using a variety of color, lighting, distortion, and time-manipulation video effects.

(3) “‘The Invisible Mass:’ Exploring Compositional Technique in Alfred Schnittke’s Second Symphony” is an analytical article that focuses on Alfred Schnittke’s compositional technique as evidenced in the construction of his Second Symphony and discussed by the composer in a number of previously untranslated articles and interviews. Though this symphony is pivotal in the composer’s oeuvre, there are currently no scholarly articles that offer in-depth analyses of the piece. The article combines analyses of the harmony, form, and orchestration in the Second Symphony with relevant quotations from the composer, some from published and translated sources and others newly translated by the author from research at the Russian State Library in St. Petersburg. These offer a perspective on how Schnittke’s compositional technique combines systematic geometric design with keen musical intuition.

Hermes, a Concerto for Violoncello and Orchestra

This thesis consists of a large composition for violoncello and orchestra, together with an analytical paper in which I discuss my compositional techniques and some of their historical antecedents. The composition draws on the genres of imaginary musical theater, the symphonic poem, and the concerto. It was also inspired by the story of Hermes, the messenger god from Greek mythology. While the myth partially informs the compositional structure, the work is ultimately meant to showcase the versatility of the cello, the coloristic range of the orchestra (in some cases emulating the orchestral styles of previous composers), the balance of cello and orchestra together, and the eclectic invocation of many compositional techniques separately and simultaneously. These techniques encompass set theory (the use of unordered pitch collections), polytonality, and serialism. It is composed in a post-romantic style.

Performance interpretativa das sonatas nº1 em Sí emol maior e nº2 em ré maior de Felix Mendelssohn

Este texto, define o trabalho final do Mestrado em Música da Universidade de Aveiro, e é um documento de apoio ao projeto artístico. Tem por objetivo perceber a importância dos compositores, Bach, Mozart e Beethoven, sobre Felix Mendelssohn “Bartholdy”, analisando o impacto que eles tiveram sobre o curso de vida desta compositor e até a que ponto influenciaram as suas obras. Centro-me na análise das sonatas em Sí bemol Maior, e Ré Maior para violoncelo e piano, que também é apresentada neste projeto, e cuja performance constitui o repertório do recital na defesa do trabalho. Inclui ainda uma reflexão sobre a liberdade criativa no quadro da composição e da interpretação musical, articulando este conceito com os nossos limites enquanto artistas “originais”.

Insulin-Like Growth Factor-I (IGF-1), IGF-Binding Protein-3 (IGFBP-3) and mammographic features

Introduction. The IGF system has recently been shown to play an important role in the regulation of breast tumor cell proliferation. However, also breast density is currently considered as the strongest breast cancer risk factor. It is not yet clear whether these factors are interrelated and if and how they are influenced by menopausal status. The purpose of this study was to examine the possible effects of IGF-1 and IGFBP-3 and IGF-1/IGFBP-3 molar ratio on mammographic density stratified by menopausal status. Patients and methods. A group of 341 Italian women were interviewed to collect the following data: family history of breast cancer, reproductive and menstrual factors, breast biopsies, previous administration of hormonal contraceptive therapy, hormone replacement therapy (HRT) in menopause and lifestyle information. A blood sample was drawn for determination of IGF-1, IGFBP-3 levels. IGF-1/ IGFBP-3 molar ratio was then calculated. On the basis of recent mammograms the women were divided into two groups: dense breast (DB) and non-dense breast (NDB). Student’s t-test was employed to assess the association between breast density and plasma level of IGF-1, IGFBP-3 and molar ratio. To assess if this relationship was similar in subgroups of pre- and postmenopausal women, the study population was stratified by menopausal status and Student’s t-test was performed. Finally, multivariate analysis was employed to evaluate if there were confounding factors that might influence the relationship between growth factors and breast density. Results. The analysis of the relationship between mammographic density and plasma level of IGF-1, IGFBP-3 and IGF-1/ IGFBP-3 molar ratio showed that IGF-1 levels and molar ratio varied in the two groups resulting in higher mean values in the DB group (IGF-1: 109.6 versus 96.6 ng/ml; p= 0.001 and molar ratio 29.4 versus 25.5 ng/ml; p= 0.001) whereas IGFBP-3 showed similar values in both groups (DB and NDB). Analysis of plasma level of IGF-1, IGFBP-3 and IGF-1/IGFBP-3 molar ratio compared to breast density after stratification of the study population by menopausal status (premenopausal and postmenopausal) showed that there was no association between the plasma of growth factors and breast density, neither in premenopausal nor in postmenopausal patients. Multivariate analysis showed that only nulliparity, premenopausal status and body mass index (BMI) are determinants of breast density. Conclusions. Our study provides a strong evidence of a crude association between breast density and plasma levels of IGF-1 and molar ratio. On the basis of our results, it is reasonable to assume that the role of IGF-1 and molar ratio in the pathogenesis of breast cancer might be mediated through mammographic density. IGF-1 and molar ratio might thus increase the risk of cancer by increasing mammographic density.

Severity in biliary peritonitis

Objective. To analyze clinical and laboratory findings in order to find variables predictive of severity of Biliary Peritonitis (BP). Patients and methods. Physical findings, course of illness, imaging and laboratory data were evaluated in 42 patients with BP, and statistically analysed to assess their prognostic significance. Results. Serious illness and worse outcome were associated with: age ≥ 60 years (P=0.034), long time between onset of symptoms and treatment (P=0.025), fever > 38°C (P=0.009), WBC count > 17,000 cell/mm³ (P=0.043), diffuse abdominal pain (P=0.034), and infected bile (P=0.048). Conclusions. Most patients become severely ill due to supervening infection, while early bile drainage avoids serious complications. In addition, abdominal pain, fever and WBC count are also predictive of severity of BP.

Pairings: Quintets and Duos from the Collaborative Piano Repertoire

Chamber music with piano comprises some of the greatest masterpieces in the Western canon. The works range from duo sonatas with various instruments through septets. In regard to duo sonatas, the violin is the instrument most frequently paired with the piano. Of all the chamber works for larger ensembles, the most popular is the quintet. In this dissertation, I will be exploring the similarities and differences between the duo sonatas and quintets of a given composer. I will be surveying Robert Schumann’s Piano Quintet in E-flat Major, Op. 44 along with his Violin and Piano Sonata in A Minor, Op. 105. The next pairing will be Johannes Brahms’ Piano Quintet in F Minor, Op. 34 and his Piano and Violin Sonata in D Minor, Op. 108. Dmitri Shostakovich’s Piano Quintet in G Minor, Op. 57 and his Cello and Piano Sonata in D Minor, Op. 40 will be the last two works examined in this dissertation. This dissertation project consisted of three recitals, presented in the Gildenhorn Recital Hall at the Clarice Smith Performing Arts Center of the University of Maryland. The recitals featured works by Johannes Brahms, Robert Schumann and Dmitri Shostakovich and took place on March 14, 2014, February 13, 2015 and November 22, 2015. All three recitals were recorded on compact discs, which can be accessed at the Digital Repository at the University of Maryland (DRUM) and at the University of Maryland Hornbake Library.

A mini maratona de violoncelistas AMVP 2016

Relatório de Estágio para a obtenção do grau de Mestre em Ensino da Música

Contrasts: Quartets and Art Songs of the Nineteenth Century

The nineteenth-century Romantic era saw the development and expansion of many vocal and instrumental forms that had originated in the Classical era. In particular, the German lied and French mélodie matured as art forms, and they found a kind of equilibrium between piano and vocal lines. Similarly, the nineteenth-century piano quartet came into its own as a form of true chamber music in which all instruments participated equally in the texture. Composers such as Robert Schumann, Johannes Brahms, and Gabriel Fauré offer particularly successful examples of both art song and piano quartets that represent these genres at their highest level of artistic complexity. Their works have become the cornerstones of the modern collaborative pianist’s repertoire. My dissertation explored both the art songs and the piano quartets of these three composers and studied the different skills needed by a pianist performing both types of works. This project included the following art song cycles: Robert Schumann’s Dichterliebe, Gabriel Fauré’s Poème d’un Jour, and Johannes Brahms’ Zigeunerlieder. I also performed Schumann’s Piano Quartet in E-flat Major, Op. 47, Fauré’s Piano Quartet in C minor, Op. 15, and Brahms’ Piano Quartet in G minor, Op. 25. My collaborators included: Zachariah Matteson, violin and viola; Kristin Bakkegard, violin; Molly Jones, cello; Geoffrey Manyin, cello; Karl Mitze, viola; Emily Riggs, soprano, and Matthew Hill, tenor. This repertoire was presented over the course of three recitals on February 13, 2015, December 11, 2015, March 25, 2016 at the University of Maryland’s Gildenhorn Recital Hall. These recitals can be found in the Digital Repository at the University of Maryland (DRUM).

Estudio comparativo de tres interpretaciones de la sonata I Op. 45 en Bb mayor para violonchelo y piano de Félix Mendelssohn

En el presente trabajo se realiza un Estudio Comparativo de tres Interpretaciones de la Sonata I Op. 45 en Bb Mayor para Violonchelo y Piano de Félix Mendelssohn. El mismo que fue analizado con ayuda del performance de tres grandes violonchelistas como son: Natalia Gutman (Rusia 1942), Inbal Segev (Israel 1974) y Xenia Jankovic (Serbia 1958), en donde se puede examinar cada una de sus ejecuciones comparando varios aspectos técnicos y estilísticos; los mismos que apoyaron al desarrollo musical y técnico de la autora del trabajo. Además, fue reforzado por material teórico acerca de la vida de cada una de ellas, como de la obra estudiada. Las conclusiones brindan un soporte técnico, fraseológico y de precisión de las dinámicas que pueden ayudar al lector a tener una nueva perspectiva interpretativa

Testing times

The paper describes the experimental genesis of a series of prints that examines how sight influences perception, designed to engage an audience of varying visual abilities.