O Manuscrito M.M. 4824 e as 13 sonatas de Pedro Lopes Nogueira

• Ano de defesa: 2020
• Autor(a) principal: Gustavo Javier Medina Riera
• 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
• Palavras-chave em Português: violino; barroco; Pedro Lopes Nogueira; interpretação musical historicamente informada; pedagogia da Performance; Performance musical; Nogueira, Pedro Lopes; Música - Análise, apreciação; Música para violino
• Link de acesso: http://hdl.handle.net/1843/34543; https://orcid.org/0000-0002-6974-0088

Musicological, stylistic, pedagogical analysis and presentation of the performance edition of the manuscript Casta de Lições (M.M. 4824). Violin method of authorship of Pedro Lopes Nogueira which can be considered the first and most complete set of violin studies of the 18th century. Nogueira was a virtuoso and Portuguese teacher who acted mainly in the cities of Lisbon and Coimbra during the first half of the 18th century. The importance of this method is discussed within the historical context of the violin pedagogy, which seems to put Portugal in a new perspective compared to its European contemporaries, traditionally leaders in the creation, teaching and interpretation of classical music. Within its 244 pages, there are a wide variety of materials. The 13 Sonatas for violin and bass continuo, are evaluated as to their feasibility, degrees of difficulty and musical content, putting it into perspective as a relevant source of teaching, stylistic data and repertoire for public presentation at recitals. A comparative analysis between a Casta de Lições and the main didactic works of the violin of the eighteenth century, he addresses his technical and aesthetic questions (especially of J. Quantz, A. Corelli and Pedro Antônio Avondano). As methodological references are used the schematas proposed by Gjerdingen (GJERDINGEN 2007), topical theory and rhetorical figures applied to Baroque music (BARTEL, 1998; BURMEISTER, 1660; DART, 2000; CANO, 2011; 2016)) as grants for an interpretation Historically Informed. Likewise, a comparison of the manuscript in how much study and/or whims with the leading modern authors of violin pedagogy as Ivan Galamian, Leopoldo Auer and Carl Flesch allows the tracing of violin principles from the eighteenth century and its connection with current practices. For the editorial process, the Philological principles were considered of the various types of editing (GRIER 1996, CARACI VELA 2015Flowers 2004, FIGUEIREDO 2012) and, especially, concepts and procedures of the editions for performance proposals by BORÉM 2015.