Nepomuceno e o canto vernacular: um novo caminho para a canção de câmara brasileira.

• Ano de defesa: 2013
• Autor(a) principal: Lira, Elizete Felix de
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal da Paraí­ba; BR; Música; Programa de Pós-Graduação em Música; UFPB
• Palavras-chave em Português: Música - Crítica e interpretação; Nepomuceno, Alberto, 1864-1920 - Crítica e interpretação; Canto vernacular; Alberto Nepomuceno; Vernacular singing; Analysis; ARTES::MUSICA
• Link de acesso: https://repositorio.ufpb.br/jspui/handle/tede/6599

This work grew out of an interest in knowing the songs of Alberto Nepomuceno more deeply, encouraged mainly by the lack of disclosure of this repertoire in recitals in the city of Recife - Pernambuco. Dealing with songs in Portuguese, was sought to know how Nepomuceno's defense of the use of the vernacular in classical singing occurred, considering that at his time the Italian and French languages were recognized as suitable for this kind of performance. It was also necessary to know and experience the use of standards table of pronunciation of the Brazilian Portuguese in classical singing from the Brazilian Association of Singing. The research was developed through research literature, analysis of scores, two recitals and survey on the number of recordings of the repertoire. The importance of this work is based also in the relationship between Alberto Nepomuceno's musical training in Europe and the reflection of this experience in his brazilian songs. The choice of songs followed some criteria such as: lack of a full disclosure in recitals in Recife, PE and extension of melodies according to the vocal range of this author. The repertoire features eleven songs: Amo-Íe muito Op. 12 nº 2, Tu és o sol! Op. 14 nº 2, Coração rriste Op. 18 nº1, Soneto Op. 21 nº 3, Turquesa Op. 26 nº 1,Trovas Op. 29 nº 1, Trovas Op. 29 nº 2, Cantigas, Cantilena, Candura e A jangada. The study of the songs developed from the following aspects: the poem, the poet, tonality, melody, functional harmony and piano accompaniment, based on the collections of Songs for voice and piano edited by Dante Pignatari EDUSP (2004) and manuscripts scores obtained at the National Library. The songs chosen were composed between 1894 and 1920.