gestos musicais na fantasia concertante para piano, clarinete e ...

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vi ABSTRACT In the extensive work of Heitor Villa-Lobos, the chamber music reveals important aspects of the composer’s musical writing, as the continuous system of accumulation and succession of new ideas. This present work aims to Villa-Lobos’ creative continuity and admits the existence of musical gestures in the Fantasia Concertante para Piano, Clarinete e Fagote as energetic shapings through time. The approach to the musical gestures in the Fantasia Concertante was based in the studies of R. S. Hatten from the book Interpreting Musical Gestures, Topics and Tropes: Mozart, Beethoven, Schubert, which has established a close relationship with performance procedures, prioritizing musical elements hardly used by traditional analytical theories, like articulation, dynamics and accentuation. Through virtuosity elements, the musical gestures of the Fantasia Concertante strongly explore the instruments possibilities of execution and offer to the Fantasy genre a “concertante” character. Moreover, the way in which the instruments’ timbres are combined shows a close association with the thematic elements’ development. On the basis of the data offered by the score, the analysis of musical gestures in the Fantasia Concertante supplied essential information for interpretative decisions, pointing to a research of qualitative nature.
vii LISTA DE TABELAS Tabela 1: Estrutura formal do 1º movimento da Fantasia Concertante ------------- 22 Tabela 2: Estrutura formal do 2º movimento da Fantasia Concertante ------------- 40 Tabela 3: Estrutura formal do 3º movimento da Fantasia Concertante ------------- 47
Page 1 and 2: UNIVERSIDADE FEDERAL DE GOIÁS ESCO
Page 3 and 4: iii DAVID SOUZA MARTINS GESTOS MUSI
Page 5: v RESUMO No universo composicional
Page 9 and 10: ix Fig. 13: Reaproveitamento rítmi
Page 12 and 13: PARTE A: PRODUÇÃO ARTÍSTICA RECI
Page 14 and 15: 3 Ilka Jussara - Iniciou seus estud
Page 16 and 17: 5 UNIVERSIDADE FEDERAL DE GOIÁS ES
Page 18 and 19: 7 UNIVERSIDADE FEDERAL DE GOIÁS ES
Page 20 and 21: 9 PARTE B: ARTIGO GESTOS MUSICAIS N
Page 22 and 23: 11 Uma breve análise da bibliograf
Page 24 and 25: 13 Villa-Lobos admitidos ou não co
Page 26 and 27: 15 Associados as competências pré
Page 28 and 29: 17 2.1.2. O gesto mental Produzido
Page 30 and 31: 19 retóricos são capazes de quebr
Page 32 and 33: 21 Assim, a relação de maior prox
Page 34 and 35: 23 Fig. 1a: Episódio A, primeiro g
Page 36 and 37: 25 Fig. 2b: Recapitulação do segu
Page 38 and 39: 27 descida em p do compasso seguint
Page 40 and 41: Fig. 6c: Codeta, c. 232-242. 29
Page 42 and 43: 31 Fig. 7b: Reaproveitamento do ges
Page 44 and 45: 33 Fig. 8b: Expansão rítmica do t
Page 46 and 47: 35 Fig. 10: Reaproveitamento do seg
Page 48 and 49: 37 Fig. 12: Episódio D, polifonia
Page 50 and 51: 39 Fig. 14b: Episódio C, improvisa
Page 52 and 53: 41 Fig. 15: Gesto temático inicial
Page 54 and 55: 43 Fig. 17: Segundo gesto temático
Page 56 and 57:
45 19). A melodia acompanhada por a
Page 58 and 59:
47 O caráter mais evidente do segu
Page 60 and 61:
49 Em seguida, a partir do terceiro
Page 62 and 63:
51 Analogamente, no compasso 11 o m
Page 64 and 65:
53 piano e orquestra N o 2 de Rachm
Page 66 and 67:
55 Fig. 26c: Rachmaninov, Concerto
Page 68 and 69:
Fig. 28: Gesto prototípico virtuos
Page 70 and 71:
Fig. 29b: Coda, c. 105-116. 59
Page 72 and 73:
61 A relação observada entre os s
Page 74 and 75:
63 5. REFERÊNCIAS BIBLIOGRÁFICAS
Page 76:
65 ANEXO FANTASIA CONCERTANTE PARA
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