12 Improvisos para violão de Theodoro Nogueira: aspectos composicionais e idiomatismo técnico violonístico

• Ano de defesa: 2018
• Autor(a) principal: Fujiyama, Laís Domingues
• Orientador(a): Meirinhos, Eduardo
• Banca de defesa: Meirinhos, Eduardo, Costa, Carlos Henrique Coutinho Rodrigues, Antunes, Gilson Uehara Gimenes, Pereira, Marcelo Fernandes
• 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: 12 improvisos; Violão; Theodoro Nogueira; Idiomatismo violonístico; Processos composicionais
• Palavras-chave em Inglês: 12 improvisations; Acoustic guitar; Guitar idiomaticism; Compositional processes
• Área do conhecimento CNPq: ARTES::MUSICA
• Link de acesso: http://repositorio.bc.ufg.br/tede/handle/tede/8389

The present work deals with the discussion of the compositional aspects and technical idiomaticism of the 12 IMPROVISOS for guitar solo by Theodoro Nogueira. The dissertation is divided into three parts: the first one consists of a brief biography of the composer, which included the biographical’s recollection data (visit to the Zequinha de Abreu Museum, where the composer's Collection is at), interviews with guitarists Gilson Antunes and Geraldo Ribeiro (who recorded this cycle) and with the son of the composer João Antonio Nogueira. The second part consists on the compositional analysis processes of the improvisations, in confrontation with the nationalistic aesthetic influence and with the critics of other guitarists. We use the writings of the authors Schoenberg (2011) and White (1976) as the theoretical foundation for this aspect. In the third chapter, we intended to show the idiomatic aspects in his music writing. As a reference for our discussion about compositional and instrumental idiomaticism we consulted the writings of Tullio (2005), Kreutz (2014), Scarduelli (2007), Pereira (2012), Battistuzzo (2009) and Vasconcelos (2002). Some of our results have shown that, besides belonging to Brazilian nationalist aesthetics, Theodore Nogueira presents compositional peculiarities that put him in a position of visibility and academic interest in relation to his work for guitar, in addition to the technical level required for the performance of his parts is hard. The idiomatic suggestions for 12 Improvisos enhance the compositional aspects described in the previous chapter.