DOCSLIB.ORG

NATIONALISM in TWO WORKS by EDMUNDO VILLANI-CÔRTES by EDNALDO CAMELO BORBA JUNIOR a LECTURE-DOCUMENT PROPOSAL Presented To

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
NATIONALISM in TWO WORKS by EDMUNDO VILLANI-CÔRTES by EDNALDO CAMELO BORBA JUNIOR a LECTURE-DOCUMENT PROPOSAL Presented To NATIONALISM IN TWO WORKS BY EDMUNDO VILLANI-CÔRTES By EDNALDO CAMELO BORBA JUNIOR A LECTURE-DOCUMENT PROPOSAL Presented to the School of Music & Dance in partial fulfillment of the requirements for the degree of Doctor of Musical Arts November 2018 i “Nationalism in Two Works by Edmundo Villani-Côrtes,” a lecture-document prepared by Ednaldo Camelo Borba Junior in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the School of Music and Dance. This lecture-document has been approved and accepted by: Dr. Alexandre Dossin, Chair of the Examining Committee Committee in Charge: Dr. Alexandre Dossin, Chair Dr. David Riley Dr. Marian Smith Accepted by: Leslie Straka, D.M.A. Director of Graduate Studies, School of Music and Dance ii © 2018 Ednaldo Camelo Borba Junior iii CURRICULUM VITAE NAME OF AUTHOR: Ednaldo Camelo Borba Junior PLACE OF BIRTH: Rio de Janeiro, Brazil DATE OF BIRTH: October 24th, 1985 Education Doctor of Musical Arts, 2012-present – University of Oregon. Master of Music, 2012 – James Madison University. Bachelor of Music, 2008 – Universidade Federal do Rio de Janeiro. Academic Experience Graduate Teaching Fellow, University of Oregon (2012-2016). Duties: Provide piano accompaniment for the School of Music and Dance and the Community Music Institute. Graduate Assistant, James Madison University (2009-2012). Duties: Provide piano accompaniment for the School of Music, teach Group Piano classes assist with a General Education music course. Performances Concertos with Orchestra J. Brahms – Piano Concerto No. 1 Op. 15 in D minor University of Oregon Symphony Orchestra (2014). S. Rachmaninoff – Piano Concerto No. 3 Op. 30 in D minor (1st mov.) James Madison University Symphony Orchestra (2011). F. Liszt – Piano Concerto No. 1 S. 124 in Eb Ribeirão Preto Symphonic Orchestra (2008). UFRJ School of Music Symphonic Orchestra (2007). W. A. Mozart – Piano Concerto No. 17 K. 453 in G UFRJ School of Music Symphonic Orchestra (2005). Solo and Chamber Performances 2012-2018 – Eugene, San Francisco, Portland, Seattle, Vancouver, Salem, Corvallis, Bend, Couer d’Alene, Wichita (USA), Rio de Janeiro (Brazil). 2009-2012 – Harrisonburg, Staunton, Blacksburg, Richmond, Hartford (USA), Rio de Janeiro, São Paulo, Curitiba, São José dos Campos and Angra dos Reis (Brazil). 2007-2008 – Barcelona (Spain), São Paulo, Rio de Janeiro, Petrópolis, Juiz de Fora, Vitória and Campo Grande (Brazil). 2004-2006 – Rio de Janeiro, Belo Horizonte, Juiz de Fora (Brazil). iv Awards 1st place – International Piano Competition VI Forum of Music Barcelona Ciutat (2008). 1st place – ArtLivre National Piano Competition, Category “Tribute” (São Paulo, 2008). 1st place – ArtLivre National Piano Competition, Category “Piano & Orchestra” (2007). 2nd place – MTNA, Virginia State Competition (Richmond, 2011). 2nd place – Villa-Lobos National Piano Competition, Category B (Vitória, 2007). 3rd place and scholarship to James Madison University – 1st National Piano Competition “Young Musicians” from the “Music on the Museum Series” (Rio de Janeiro, 2008). 3rd place – 3rd Maria Teresa Madeira National Piano Competition, Division 3 (Rio de Janeiro, 2004). Winner – 2nd National Piano Competition “Jovem Destaque” from the Forum of Science and Culture of the UFRJ (Rio de Janeiro, 2008). Masterclasses, Festivals and Accompanying Experience Masterclasses – Luiz Carlos de Moura Castro (2003-2009), Janina Fialkowska (2009), Alexandre Dossin (2011), Boris Berman (2013), Antonio Pompa-Baldi (2014), Andre Watts (2016). Guest Young Artist – Staunton Music Festival (2010-11). Official Accompanist – Universidade Federal do Rio de Janeiro (2009). Attendant – VI International Forum of Music Barcelona Ciutat (2008). Accompanist Community Music Institute, Suzuki Program for Strings (Eugene, 2013-18). OMEA State Conference (Eugene, 2014). Brazilian Symphonic Orchestra Auditions (Rio de Janeiro, 2007-8). Summer Festival of Music of the Canarinhos de Petrópolis (2007). Antique and Colonial Brazilian Music Festival of Juiz de Fora (2005-7). UFRJ opera production of G. Rossini’s “Il cambiale di matrimonio” (2005). 11th Paulo Bosísio National Strings Competition (Juiz de Fora, 2005). Aditional Experience Private piano lessons, Eugene (2015-18) and Rio de Janeiro (2004-9). Pianist, Rio de Janeiro 1st Baptist Church (2008-9). Pianist and Music teacher, Vila da Penha 1st Baptist Church (Rio de Janeiro, 1998-2006). 2nd Violin, CETEP Quintino Chamber Orchestra (Rio de Janeiro, 2000-1). v To: My mother, Vilma Isabel Alves de Oliveira. My sisters, Ana Claudia de Oliveira Borba and Simone de Oliveira Borba. In loving memory of my grandmother, Ana (Anita) Alves de Oliveira (1924-2015). vi ACKNOWLEDGMENTS I would like to express my gratitude to all teachers, mentors and friends who have contributed to the completion of this project. Especially to my advisor, Dr. Alexandre Dossin for his insightful guidance throughout this project, and also for his brilliant teaching during the whole program. Also, to my entire committee, Dr. David Riley and Dr. Marian Smith for their time, contributions, and inspiring instruction. To my former piano teachers Claudia Marcia Feitosa, Maria Clara Gebara, Luiz Carlos de Moura Castro and Dr. Paulo Steinberg, who helped shaping my artistry, shared their knowledge and instigated my musicality and curiosity. To my dear teacher and sponsor Idis Marins Benício, the kindest and most generous person I have ever met, and my main teaching model. To my dear sponsor and Music Minister Eduardo Transcoveski from the First Baptist Church in Rio de Janeiro, who was also responsible for my first contacts with music. To my mother Vilma who invested in my education and gave me strength and support to carry on. To my sisters Ana Claudia and Simone for their emotional support and cheering. To all my family, who stayed present in my life even being very far apart, especially my father Ednaldo Borba, aunt Maria de Lourdes and my uncle Jorge, for their care and financial support. To my friend Eduardo Martins Moreira, for helping me during my weakest moments. To all my friends that came together to provide financial and emotional support to complete this project. Most importantly, to God, almighty father of my savior Jesus Christ, since I believe every blessing, inspiration and knowledge comes from him. All glory to him! vii TABLE OF CONTENTS INTRODUCTION ................................................................................................................ 1 CHAPTER I. NATIONALISM 1. Definitions and Origins ..................................................................................... 4 2. Manifestations and Classifications .................................................................... 8 3. Nationalism in Brazil a. Origins .................................................................................................. 16 b. Mário de Andrade and Heitor Villa-Lobos ......................................... 21 c. 2nd Generation and Post-Nationalism .................................................. 31 d. Bossa Nova .......................................................................................... 43 II. EDMUNDO VILLANI-CÔRTES 1. Biography ........................................................................................................ 46 2. Stylistic Considerations ................................................................................... 52 III. HISTORY OF SUITE AND ANALYSIS 1. History of the Suite .......................................................................................... 55 a. Baroque Origins ................................................................................... 56 b. Romantic Variety and 20th Century Revival ...................................... 57 c. The Brazilian Suite .............................................................................. 59 2. Série Brasileira Op. 8 ....................................................................................... 64 3. Cinco Miniaturas Brasileiras ........................................................................... 87 CONCLUSION ................................................................................................................ 105 APPENDIX A. Manifesto de 1946 by Hans-Joachim Koellreutter ................................................ 109 B. Carta Aberta aos Músicos e Críticos do Brasil by Mozart Camargo Guarnieri ......................................................................... 113 C. Cadenza by Edmundo Villani-Côrtes, for the improvisation of the Chôro Op. 8 Nr. 4 ................................................................................. 125 D. Cadenza by Ednaldo Borba for the improvisation of the Chôro Op. 8 Nr. 4 .................................................................................. 129 BIBLIOGRAPHY ............................................................................................................ 131 1 INTRODUCTION Among many anecdotes about the pianist and composer Frédéric Chopin, a few describe his free treatment of the rhythmic pulsation, or rubato – a feature often associated with his piano playing. A peculiar case involves the famous opera composer Giacomo Meyerbeer, who once attended a lesson Chopin was giving to Wilhelm von Lenz. The latter was playing the Mazurka Op. 33 Nr. 3 (mazurka is a Polish dance in 3/4), but Meyerbeer insisted that the music sounded binary. Chopin disagreed, but because of Meyerbeer's relentless insistence, Chopin, who was known to have a very
Load more

Recommended publications
  • Colombian Nationalism: Four Musical Perspectives for Violin and Piano
    COLOMBIAN NATIONALISM: FOUR MUSICAL PERSPECTIVES FOR VIOLIN AND PIANO by Ana Maria Trujillo A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Major: Music The University of Memphis December 2011 ABSTRACT Trujillo, Ana Maria. DMA. The University of Memphis. December/2011. Colombian Nationalism: Four Musical Perspectives for Violin and Piano. Dr. Kenneth Kreitner, Ph.D. This paper explores the Colombian nationalistic musical movement, which was born as a search for identity that various composers undertook in order to discover the roots of Colombian musical folklore. These roots, while distinct, have all played a significant part in the formation of the culture that gave birth to a unified national identity. It is this identity that acts as a recurring motif throughout the works of the four composers mentioned in this study, each representing a different stage of the nationalistic movement according to their respective generations, backgrounds, and ideological postures. The idea of universalism and the integration of a national identity into the sphere of the Western musical tradition is a dilemma that has caused internal struggle and strife among generations of musicians and artists in general. This paper strives to open a new path in the research of nationalistic music for violin and piano through the analyses of four works written for this type of chamber ensemble: the third movement of the Sonata Op. 7 No.1 for Violin and Piano by Guillermo Uribe Holguín; Lopeziana, piece for Violin and Piano by Adolfo Mejía; Sonata for Violin and Piano No.3 by Luís Antonio Escobar; and Dúo rapsódico con aires de currulao for Violin and Piano by Andrés Posada.
    [Show full text]
  • Chopin and Poland Cory Mckay Departments of Music and Computer Science University of Guelph Guelph, Ontario, Canada, N1G 2W 1
    Chopin and Poland Cory McKay Departments of Music and Computer Science University of Guelph Guelph, Ontario, Canada, N1G 2W 1 The nineteenth century was a time when he had a Polish mother and was raised in people were looking for something new and Poland, his father was French. Finally, there exciting in the arts. The Romantics valued is no doubt that Chopin was trained exten- the exotic and many artists, writers and sively in the conventional musical styles of composers created works that conjured im- western Europe while growing up in Poland. ages of distant places, in terms of both time It is thus understandable that at first glance and location. Nationalist movements were some would see the Polish influence on rising up all over Europe, leading to an em- Chopin's music as trivial. Indeed, there cer- phasis on distinctive cultural styles in music tainly are compositions of his which show rather than an international homogeneity. very little Polish influence. However, upon Fryderyk Franciszek Chopin used this op- further investigation, it becomes clear that portunity to go beyond the conventions of the music that he heard in Poland while his time and introduce music that had the growing up did indeed have a persistent and unique character of his native Poland to the pervasive influence on a large proportion of ears of western Europe. Chopin wrote music his music. with a distinctly Polish flare that was influ- The Polish influence is most obviously ential in the Polish nationalist movement. seen in Chopin's polonaises and mazurkas, Before proceeding to discuss the politi- both of which are traditional Polish dance cal aspect of Chopin's work, it is first neces- forms.
    [Show full text]
  • Tchaikovsky.Pdf
    Tchaikovsky CD 1 1 Orchestrion It wasn’t unusual, in the middle of the 19th century, to hear sounds like that coming from the drawing rooms of comfortable, middle-class families. The Orchestrion, one of the first and grandest of mass-produced mechanical music-makers, was one of the precursors of the 20th century gramophone. It brought music into homes where otherwise it might never have been heard, except through the stumbling fingers of children, enduring, or in some cases actually enjoying, their obligatory half-hour of practice time. In most families the Orchestrion was a source of pleasure. But in one Russian household, it seems to have been rather more. It afforded a small boy named Piotr Ilyich Tchaikovsky some of his earliest glimpses into a world, and a language, which was to become (in more senses then one), his lifeline. One evening his French governess, Fanny Dürbach, went into the nursery and found the tiny child sitting up in bed, crying. ‘What’s the matter?’ she asked – and his answer surprised her. ‘This music’ he wailed, ‘this music!’ She listened. The house was quiet. ‘No. It’s here,’ cried the boy – he pointed to his head. ‘It’s here, and I can’t make it go away. It won’t leave me.’ And of course it never did. ‘His sensitivity knew no bounds and so one had to deal with him very carefully. Every little trifle could upset or wound him. He was a child of glass. As for reproofs and admonitions (with him there could be no question of punishments), what would have been water off a duck’s back to other children affected him deeply, and if the degree of severity was increased only the slightest, it would upset him alarmingly.’ Despite his outwardly happy appearance, peace of mind is something Tchaikovsky rarely knew, from childhood to his dying day.
    [Show full text]
  • ABSTRACT Title of Dissertation: NATIONAL
    ABSTRACT Title of Dissertation: NATIONAL CHARACTER AS EXPRESSED IN PIANO LITERATURE Yong Sook Park, Doctor of Musical Arts, 2005 Dissertation directed by: Bradford Gowen, Professor of Music In the middle of the 19th century, many composers living outside of mainstream musical countries such as Germany and France attempted to establish their own musical identity. A typical way of distinguishing themselves from German, French, and Italian composers was to employ the use of folk elements from their native lands. This resulted in a vast amount of piano literature that was rich in national idioms derived from folk traditions. The repertoire reflected many different national styles and trends. Due to the many beautiful, brilliant, virtuosic, and profound ideas that composers infused into these nationalistic works, they took their rightful place in the standard piano repertoire. Depending on the compositional background or style of the individual composers, folk elements were presented in a wide variety of ways. For example, Bartók recorded many short examples collected from the Hungarian countryside and used these melodies to influence his compositional style. Many composers enhanced and expanded piano technique. Liszt, in his Hungarian Rhapsodies, emphasized rhythmic vitality and virtuosic technique in extracting the essence of Hungarian folk themes. Chopin and Szymanowski also made use of rhythmic figurations in their polonaises and mazurkas, often making use of double-dotted rhythms. Obviously, composers made use of nationalistic elements to add to the piano literature and to expand the technique of the piano. This dissertation comprises three piano recitals presenting works of: Isaac Albeniz, Bela Bartók, Frédéric Chopin, Enrique Granados, Edvard Grieg, Franz Liszt, Frederic Rzewski, Alexander Scriabin, Karol Szymanowski, and Peter Ilich Tchaikovsky.
    [Show full text]
  • Rethinking the Dynamics of Music and Nationalism
    Rethinking the Dynamics of Music and Nationalism University of Amsterdam, 26-29 September 2017 Conference Booklet Organizational committee: Prof. dr. Joep Leerssen, Professor of Modern European Literature, University of Amsterdam dr. Kasper van Kooten, Postdoctoral Research Fellow, University of Amsterdam 1 Table of Contents: Schedule p. 3 Abstracts p. 10 Practical Information p. 44 2 Schedule: Tuesday 26 September Opening of Conference Location: Vlaams Cultuurhuis De Brakke Grond, Nes 45, 1012 KD Amsterdam (close to Dam Square) 18.30 Registration, coffee and tea 19.00 Kasper van Kooten, Postdoctoral research fellow, Modern European Literature, University of Amsterdam – Welcome and introduction 19.05 Katharine Ellis, Professor of Music, University of Cambridge – Nationalism, Ethnic Nationalism, and the Third Republic’s Folk Music Problem 19.50 Joep Leerssen, Professor of Modern European Literature, University of Amsterdam – The Persistence of Voice: Instrumental Music and Romantic Orality of the Late John Neubauer (1933-2015) 20.10 Krisztina Lajosi-Moore, Assistant Professor in Modern European Literature and Culture, University of Amsterdam, and Kasper van Kooten – Opera and National Identity-Articulation in Germany and Hungary 20.30 – 21.15 Audience questions and panel discussion – The Outer Edges of National-Classical Music: Territory, Society, Tradition 21.15 - 22.00 Drinks 3 Wednesday 27 September Location: De Rode Hoed, Cultureel Centrum, Keizersgracht 102, 1015 CV Amsterdam Room: Vrijburgzaal Banningzaal 09.00-10.00 Keynote: Graeme
    [Show full text]
  • Musically Russian: Nationalism in the Nineteenth Century Joshua J
    Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2016 yS mposium Apr 20th, 3:40 PM - 4:00 PM Musically Russian: Nationalism in the Nineteenth Century Joshua J. Taylor Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Musicology Commons Taylor, Joshua J., "Musically Russian: Nationalism in the Nineteenth Century" (2016). The Research and Scholarship Symposium. 4. http://digitalcommons.cedarville.edu/research_scholarship_symposium/2016/podium_presentations/4 This Podium Presentation is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Musically Russian: Nationalism in the Nineteenth Century What does it mean to be Russian? In the eighteenth and early nineteenth centuries, Russian nobility was engrossed with French culture. According to Dr. Marina Soraka and Dr. Charles Ruud, “Russian nobility [had a] weakness for the fruits of French civilization.”1 When Peter the Great came into power in 1682-1725, he forced Western ideals and culture into the very way of life of the aristocracy. “He wanted to Westernize and modernize all of the Russian government, society, life, and culture… .Countries of the West served as the emperor’s model; but the Russian ruler also tried to adapt a variety of Western institutions to Russian needs and possibilities.”2 However, when Napoleon Bonaparte invaded Russia in 1812, he threw the pro- French aristocracy in Russia into an identity crisis.
    [Show full text]
  • Universidade Federal Do Estado Do Rio De Janeiro – Unirio
    UNIVERSIDADE FEDERAL DO ESTADO DO RIO DE JANEIRO – UNIRIO CENTRO DE CIÊNCIAS HUMANAS E SOCIAIS – CCH Programa de Pós-Graduação em Memória Social Linha de Pesquisa Memória e Espaço Paisagens Musicais da Zona Sul Carioca: memórias e identidades da bossa nova. Priscila Cabral Almeida Rio de Janeiro, 2007. Paisagens Musicais da Zona Sul Carioca: memórias e identidades da bossa nova. Priscila Cabral Almeida Defesa da Dissertação de Mestrado como requisito parcial para a obtenção do grau de Mestre em Memória Social, do Centro de Ciências Humanas e Sociais da UNIRIO. Orientadora: Profª Drª Icléia Thiesen Rio de Janeiro, 2007. Paisagens Musicais da Zona Sul Carioca: memórias e identidades da bossa nova. BANCA EXAMINADORA ___________________________________________________ Prof.ª Dr.ª Elizabeth Travassos (UNIRIO – PPGM) ___________________________________________________ Prof. Dr. Marco Aurélio Santana (UFRJ) ___________________________________________________ Prof.ª Dr.ª Icléia Thiesen (Orientadora) ___________________________________________________ Prof.ª Dr.ª Cláudia Beltrão da Rosa (Suplente) RESUMO Esta pesquisa analisa a reconstrução da memória e identidade da bossa nova através dos depoimentos de músicos, compositores e intérpretes, tendo como respaldo a metodologia da História Oral. A partir das análises das entrevistas e do mapeamento bibliográfico sobre o tema foi possível compreender a relação da construção da identidade da bossa nova com sua produção historiográfica – que teve início na década de 1960, estendendo-se até os dias de hoje -, assim como compreender a identidade do grupo através de sua relação afetiva e simbólica com o espaço da Zona Sul carioca, principalmente nos bairros de Copacabana e Ipanema. Por ter se consagrado como gênero simbólico da música popular brasileira, muitas vezes teve que dialogar e conviver com os diversos estilos musicais presentes no cotidiano dos brasileiros ao longo das últimas quatro décadas.
    [Show full text]
  • A Felicidade Infeliz De Maysa Matarazzo Em Tempos Do American Way of Life
    A FELICIDADE INFELIZ DE MAYSA MATARAZZO EM TEMPOS DO AMERICAN WAY OF LIFE. REFLEXÕES SOBRE A BOEMIA PAULISTANA NOS ANOS 50 MARCIA BARROS VALDÍVIA* Resumo: O clichê dos “Anos Dourados” expressa a década de 50 através de representações da cultura estadunidense infiltrada no Bra- sil. Diante do American “way of life” (modo americano de vida), foi apresentada à sociedade brasileira a necessidade do bem-estar, expresso no consumismo de bens materiais. Ao analisarmos a dé- cada, foi possível perceber sua outra face, marcada pela angústia, em decorrência de um clima de desilusão e insegurança, absorvidos por uma geração pós-guerra. Através dos símbolos de maximização da felicidade, foi possível enxergar a tristeza de muitos indivíduos. Entre eles, estava a cantora Maysa Matarazzo e outros cantores bo- êmios que, com suas experiências e canções, expressaram um modo particular de ser infeliz, carregado de requinte, glamour e beleza, elementos próprios àquela década, que este texto propôs a resgatar. Palavras-Chave: Cidade; Boemia; Drogas Abstract: The unhappy happiness of Maysa Matarazzo in Ameri- can Way of Life´s times. Reflections on the paulistana bohemian in _________________ * Doutora em História Social pela PUC-SP. Pesquisadora integrante do Núcleo de Estudos de História Social da cidade - NEHSC (PUC-SP). Membro do Conselho Editorial da Revista Cordis - Revista Eletrônica de História Social da Cidade (PUC-SP). Professora de Historia Geral e História do Brasil na Unibirapuera. Atua principalmente nos seguintes temas: Cidade, Propaganda, Canção, Droga, Boemia e Medicalização. E-mail: [email protected] Cordis. Mulheres na história, São Paulo, n. 12, p. 185-226, jan./jun.
    [Show full text]
  • Relatório De Ecad
    Relatório de Execução Musical Razão Social: EBC - EMPRESA BRASIL DE COMUNICAÇÃO CNPJ: 09.168.704/0002-23 Nome Fantasia: Rádio Nacional do Rio de Janeiro - Dial 1130 AM - Cidade: Rio de Janeiro - UF: RJ Execução Data Hora Música Intérprete Compositor Programa Vivo Mec. João Vieira/Nilo Chagas 01/11/2019 01:45:47 Lamento da Lavadeira Nilze Carvalho Programação Musical X Monsueto Menezes Dedé da Portela 01/11/2019 01:48:15 Peço a Eus Nilze Carvalho Programação Musical X E DIDA 01/11/2019 01:49:41 Doces Recordações Nilze Carvalho D.Ivone Lara/Delcio Carvalho Programação Musical X 01/11/2019 02:15:44 Outra Vez Elizete Cardoso Tom Jobim Programação Musical X 01/11/2019 02:16:11 Eu Não Existo Sem Você Elizete Cardoso Tom Jobim/Vinícius de Moraes Programação Musical X Tom Jobim 01/11/2019 02:16:48 Aula de Matemática Elizete Cardoso Programação Musical X Marino Pinto 01/11/2019 02:27:02 Peso dos Anos Elizete Cardoso Elizeth Cardoso Programação Musical X 01/11/2019 11:35:59 Arabiando Água de Moringa Esmeraldino Sales Programação Musical X 01/11/2019 11:36:37 Lata D'água na Cabeça Marlene Luis Antonio Programação Musical X 01/11/2019 11:40:25 Praça Maúa que Mal Há Moacyr Luz Moacyr Luz/Aldir Blanc Programação Musical X 01/11/2019 11:44:02 Trem das Onze Adoniran Barbosa Adoniran Barbosa Programação Musical X Luis Antonio 01/11/2019 11:52:30 Sassaricando Jorge da Veiga Programação Musical X Oldemar 01/11/2019 16:00:33 Bizavo Madalena Wilson das Neves e Jackson do Pandeiro Paulo César Pinheiro/Wilson das Neves Programação Musical X Claudemir André
    [Show full text]
  • UNIVERSIDADE DE SÃO PAULO ESCOLA DE COMUNICAÇÕES E ARTES Programa De Pós-Graduação Em Música
    UNIVERSIDADE DE SÃO PAULO ESCOLA DE COMUNICAÇÕES E ARTES Programa de Pós-Graduação em Música Reflexões sobre a poética do feminino de Jocy de Oliveira em suas óperas Alexandre Guilherme Montes Silva São Paulo 2019 ALEXANDRE GUILHERME MONTES SILVA Reflexões sobre a poética do feminino de Jocy de Oliveira em suas óperas Dissertação de Mestrado apresentada ao Programa de Pós- Graduação em Música da Universidade de São Paulo. Orientador: Prof. Dr. Marcos Câmara de Castro. Linha de Pesquisa: Musicologia. São Paulo 2019 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. Catalogação na Publicação Serviço de Biblioteca e Documentação Escola de Comunicações e Artes da Universidade de São Paulo Dados inseridos pelo(a) autor(a) ________________________________________________________________________________ Silva, Alexandre Guilherme Montes Reflexões sobre a poética do feminino de Jocy de Oliveira em suas óperas / Alexandre Guilherme Montes Silva; orientador, Dr. Marcos Câmara de Castro. -- São Paulo, 2019. 169 p.: il. Dissertação (Mestrado) - Programa de Pós-Graduação em Música - Escola de Comunicações e Artes / Universidade de São Paulo. Bibliografia Versão revisada 1. Jocy de Oliveira 2. Poética do feminino 3. Ópera 4. Ópera brasileira 5. Ópera contemporânea I. Castro, Dr. Marcos Câmara de II. Título. CDD 21.ed. - 780 ________________________________________________________________________________ Elaborado por Sarah Lorenzon Ferreira - CRB-8/6888 FOLHA DE APROVAÇÃO Alexandre Guilherme Montes Silva Reflexões sobre a poética do feminino de Jocy de Oliveira em suas óperas Dissertação apresentada ao Programa de Pós-Graduação em Música da Universidade de São Paulo como exigência parcial para a obtenção do título de Mestre em Música.
    [Show full text]
  • Maysa, Nara Y Otras Chicas De Ipanema: Estereotipos De Género En La Bossa Nova Marta Puig Ávila
    Maysa, Nara y otras chicas de Ipanema: estereotipos de género en la Bossa Nova Marta Puig Ávila Resum A finals dels anys 50, un grup de joves brasilers van protagonitzar la major revolució musical del seglo XX en el seu país. El que acabaria coneguent-se com a Bossa Nova es va gestar en l’apartament d’una jove carioca, Nara Leão i va ser donat a conéixer al públic en la veu d’Elizete Cardoso. No obstant, quan es parla d’aquest moviment, els primers noms que es solen mencionar són masculins: João Gilberto, Tom Jobim, Carlinhos Lyra… Molts d’aquestos músics han parlat de la dona com musa, atorgant-li en les seues lletres un rol passiu i altament esteriotipat. No oblidem que la cançó més emblemàtica d’aquest estil, Garota de Ipanema, està dedicada a una xica per la seua bellesa i sensualitat. Dit açò, quin paper desenvoluparen les dones? Aquest assaig treballa en dos direccions: analitzant les trajectòries tant vitals com professinals d’aquelles que van participar més activament en aquest fenomen, i estudiant quina imatge va projectar ell mateix. El nostre objectiu és desvetllar si elles van ser vertaderes protagoniste, i no secundàries de luxe o meres muses i acompanyants, com sembla desprendre’s de certa literatura. Resumen A finales de los años 50, un grupo de jóvenes brasileños protagonizó la mayor revolución musical del siglo XX en su país. Lo que acabaría conociéndose como Bossa Nova se gestó en el apartamento de una joven carioca, Nara Leão, y fue dado a conocer al público en la voz de Elizete Cardoso.
    [Show full text]
  • II Seminário Brasileiro Livro E História Editorial
    1 II Seminário Brasileiro Livro e História Editorial Maysa, entre a espetacularização e a sacralização Do particular, íntimo e transitório para o público e erudito. A migração dos arquivos pessoais da artista popular para o universo do livro Valentina da Silva Nunes 1 Doutoranda em Teoria Literária, pela Universidade Federal de Santa Catarina – UFSC Resumo: A cantora e compositora Maysa (1936-1977) foi também uma autoarquivista contumaz. Embora mais conhecida por sua densa interpretação das canções comerciais de fossa que marcaram a MPB nos anos 1950 e 60 – a maioria falando de amor –, Maysa produziu na intimidade uma grande quantidade de escritos pessoais. São diários, cadernos, papéis avulsos e cartas, em suma, variados exercícios de escrita de si – manuscritos ou datilografados –, em que ela revela sua secreta ambição literária, compondo sobretudo poemas. Preservados pela família por mais de 30 anos, parte desses textos – e também imagens – compõe o livro Maysa , uma fotobiografia poética, lançado em 2008, por uma editora de São Paulo, às vésperas da minissérie homônima exibida pela televisão. A migração para um livro desses textos marcadamente transitórios, fragmentários, dispersos, próprios do universo privado, íntimos embora revelando indícios de espetacularização de si, mas todos de autoria de Maysa, personagem do cenário popular a compor poemas, é o objeto de análise deste ensaio. A partir de leituras de pensadores como Michel Foucault, Walter Benjamin, Jacques Derrida, Philippe Lejeune, Guy Debord e Didi-Huberman, entre outros, interessa pensar os mecanismos de produção dessa obra – que textos foram escolhidos? Que tratamento receberam? O que ficou de fora? – como indícios de esforços póstumos para a monumentalização da artista popular, para a sua sacralização e inclusão, por meio do livro, no mundo da erudição.
    [Show full text]