Detalhes bibliográficos
| Ano de defesa: |
2012 |
| Autor(a) principal: |
Faria, Cindy Folly
 |
| Orientador(a): |
Dias, Ângelo de Oliveira
|
| Banca de defesa: |
Dias, Ângelo de Oliveira,
Biaggi, Emerson de,
Costa, Carlos Henrique,
Gaioso, Marshal |
| 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: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
http://repositorio.bc.ufg.br/tede/handle/tede/3216
|
Resumo: |
The present work intends to investigate the contributions that the universe of vocal performance, especially in its interpretive and expressive aspects, can offer to the activity of the stringed instrument player, more specifically to the violist, therefore approximating again two practices that were closely related in other historical periods. Up to certain part of the romantic period, we can notice a strong relation between instrumental interpretation and lyrical singing, and between the former and other practical elements related to music and to singing, such as rhetoric and oratory. Through centuries, music was treated as a discourse, and expressiveness, or the way in which notes were “pronounced”, was sought after and explored in a significant manner. Therefore, through a bibliographical research, the first part of this paper presents the close relation through history between performance on instruments and voice, and between viola and singing. Thus, it is noticed that the voice which is manipulated in singing and oratory has many expressive elements to be considered and even imitated. Then, one considers the specific context of the viola and its path since its beginnings until today, also in regard to the influence of the singing. The second part is formed by the analysis of some musical interpretation principles that highlight the expressiveness from vocal model, which are extracted from treatises used today as guide to singing performance. To these instructions are added some approaches to singing made by some string methods’ and treatise’s authors through history, all conformable and pertinent to the viola interpretation. And in order to demonstrate the use of these principles, interpretative suggestions are made for excerpts from the viola repertoire from different styles and periods. |
