O “Choro”, de Octavio Maul, e o gênero choro: da análise e etnografia à edição de performance e composição
Ano de defesa: | 2020 |
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Autor(a) principal: | |
Orientador(a): | |
Banca de defesa: | |
Tipo de documento: | Tese |
Tipo de acesso: | Acesso aberto |
Idioma: | por |
Instituição de defesa: |
Universidade Federal de Minas Gerais
Brasil MUSICA - ESCOLA DE MUSICA Programa de Pós-Graduação em Música UFMG |
Programa de Pós-Graduação: |
Não Informado pela instituição
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Departamento: |
Não Informado pela instituição
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País: |
Não Informado pela instituição
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Palavras-chave em Português: | |
Link de acesso: | http://hdl.handle.net/1843/62207 |
Resumo: | Multi-natured study in five approaches (analytical, autoethnographic, pedagogical, philological and creative) on the performance practices of the choro genre with the objective of creating a foundation of the performance and teaching of the piece Choro, for solo piano, by Octavio Maul. Initially, there was a literature review on the choro genre, the composer and the primary sources, consisting of the score and two available recordings of the work, followed by a stylistic analysis of the score. Then, based on the perspective of both the foreign musician who necessitates an immersion in Brazilian culture, and the classical musician who intends to play works based on this popular genre, the researcher collected data by attending choro circles and taking private lessons on performance practices of three typical instruments do choro (the Brazillian tambourine, the seven-string guitar and the cavaquinho) with renowned teachers in Belo Horizonte. Two fronts in the realm of creative research were born out of this present study. First, a performance of Choro (Octavio Maul) was elaborated and documented on video based on the analysis of the primary sources and the knowledge accumulated in the field research on the choro presentations which gave rise to a Performance Edition (EdiP) of the work. Finally, a work for solo piano, Horizontando, was created, bringing together techniques and practices from the classical and popular musical fields, integrating the experiences throughout the writing of this thesis and that could also be used as didactic material. |