Soluções interpretativas utilizadas em duas obras, escritas para marimba solo, dos compositores brasileiros Roberto Victorio e Marlos Nobre

• Ano de defesa: 2012
• Autor(a) principal: Giuliano Barretos Ribas
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Música; Musica; Música para marimba; Compositores brasileiros Séc XX
• Link de acesso: http://hdl.handle.net/1843/AAGS-9AQQYC

The repertoire composed for marimba has been developed very quickly, especially after the second half of the 20th century. The marimba currently used in concert music was developed around a hundred years ago. Although it is a relatively new instrument, since its creation, many concerts and solo acts were written for it. The technique used has alsobeen developed very fast. In that way, a big part of the repertoire has a virtuosic character, bringing a great technical challenge. Because of that, it is possible to find percussionists that dedicate themselves exclusively to the performance of that instrument. Moreover, in the past few years the instrument has become one of the most studied subjects in undergraduate and graduate percussion courses. In Brazil, the repertoire played by the majority of percussionists still contains mainly pieces written by foreigners. Although some Brazilian composers have had an interest in writing for that instrument, the repertoire is still much more restrict here than it is in Japan or The United States. An investigation about the Brazilian repertoire for solo marimba reveals the work of composer Roberto Victorio with Chronos V, and Marlos Nobre with Sonante I, two important names of Brazilian contemporary music. Given the richness of the work of both composers, and the great technical requirements for such pieces, we decided to approach them in our work not only to get to know them more deeply and further benefit my performance from it, but also to contribute to the promotion of this repertoire. This work presents a report of my interpretative decisions used in the performance of the two pieces researched, form a technical and musical point of view. It also includes a brief historical contextualization of the marimba and its repertoire. We provide in theanalysis of each piece facts about the work of each composer and discuss several different aspects of the pieces researched. Furthermore, we present the interpretative proposals created for selected excerpts of the pieces, taking into consideration its technical and musical level.