Repertório pianístico brasileiro para ensino dos passos pliés e sautés do ballet clássico: possibilidades e adequação

• Ano de defesa: 2015
• Autor(a) principal: Maia, Mônica Ferreira
• Orientador(a): Costa, Carlos Henrique Coutinho Rodrigues
• Banca de defesa: Costa, Carlos Henrique Coutinho Rodrigues, Rosa, Robervaldo Linhares, Cunha, Estércio Marquez, Almeida, Anselmo Guerra de
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Goiás
• Programa de Pós-Graduação: Programa de Pós-graduação em Musica (EMAC)
• Departamento: Escola de Música e Artes Cênicas - EMAC (RG)
• País: Brasil
• Palavras-chave em Português: Ballet; Repertório brasileiro; Acompanhamento ao piano
• Palavras-chave em Inglês: Ballet; Brasilian repertoire; Piano accompanist
• Área do conhecimento CNPq: MUSICA::INSTRUMENTACAO MUSICAL
• Link de acesso: http://repositorio.bc.ufg.br/tede/handle/tede/5501

This research aimed to investigate the possibilities to adapt the piano repertoire of Brazilian composers of the nineteenth and twentieth century for use in the teaching of two basic steps of classical ballet: pliés and sautés. The research problem consisted in how to recognize, in the Brazilian repertoire, adequatable pieces to teach the steps pliés and sautés. The discussions were based on the musical characteristcs of the steps presented by Cavalli (2001), Neves (1998) and Almada (2006), in addition to musical examples used by the Royal Academy of Dance of London following the models from Lishka (1979), and Spadari and Nicolace (2013). The research methodology used was bibliographic and documental, qualitative, in which scores were selected from Brazilian repertoire investigated at SESC Sheet sites, musicabrasilis.com.br, the pianist Robervaldo Linhares’ collection, this researchers’ collection, and list of repertoire inserted in the Doctoral thesis of Carlos H. Costa (2002). Ten musical excerpts were chosen that suited to teach each step, contemplating Works of Ernesto Nazareth, Carlos Gomes, Villa Lobos and Francisco Mignone. As a result, the brazilian piano repertoire presents many potential sections that can be used for teaching classical ballet. If properly chosen and interpreted, this repertoire can contribute to enrich and enhance the work of pianist ballet accompanist in the formation of the classical dancer.