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Proquest Dissertations The Twelve Etudes of Heitor Villa-Lobos: Didactic purpose within concert repertoire Item Type text; Dissertation-Reproduction (electronic) Authors Joyce, Joseph Patrick Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 23/09/2021 16:14:35 Link to Item http://hdl.handle.net/10150/290160 NOTE TO USERS This reproduction is the best copy available. UMI THE TWELVE ETUDES OF HEITOR VILLA-LOBOS: DIDACTIC PURPOSE WITHIN CONCERT REPERTOIRE by Joseph Patrick Joyce Copyright © Joseph Patrick Joyce 2005 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2005 UMI Number: 3205462 Copyright 2005 by Joyce, Joseph Patrick All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform 3205462 Copyright 2006 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Joseph Patrick Joyce entided "The Twelve Etudes of Heitor Villa-Lobos: Didactic Purpose within Concert Repertoire" and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts Date: 5/30/05 Thomas Patterson Date: 5/30/05 g^Mei Xiao Date: 5/30/05 Nancy Green Final approval and acceptance of this document is contingent upon the candidate's submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fiilfiUing the document requirement. Date: 5/30/05 Document Director: Thomas Patterson 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: 4 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES 5 ABSTRACT 7 CHAPTER ONE: INTRODUCTION 9 CHAPTER TWO: HEITOR VILLA-LOBOS, A BRIEF BIOGRAPHY 12 CHAPTER THREE: TWELVE ETUDES FOR GUITAR, A PEDAGOGICAL ANALYSIS 19 No. 1, Etudes des arpeges 19 No. 2, Des arpeges 23 No. 3, Allegro moderato 37 No. 4, Des accords repetes 41 No. 5, Andantino 43 No. 6, Poco allegro 45 No. 7, Tresanime 47 No. 8, Modere 52 No. 9, Trespeu anime 54 No. 10, Tresanime 59 No. 11, Lent 61 No. 12, Anime 66 CHAPTER FOUR: CONCLUSION 70 REFERENCES 71 5 LIST OF MUSICAL EXAMPLES Ex. 1.1, Etude 1, m. 1 19 Ex. 1.2, Etude 1, m. 24-25 19 Ex. 1.3, Etude l,m. 32-34 20 Ex. 1.4, Etude 1, m. 1 20 Ex. 1.5, Etude 1, m. 1 21 Ex. 1.6, Etude 1, m. 1 21 Ex. 2.1, Etude 2, m. 1 23 Ex. 2.2, Etude 2, m. 2 25 Ex. 2.3, Etude 2, m. 3 26 Ex. 2.4, Etude 2 m. 4 26 Ex. 2.5, Etude 2 m. 6 28 Ex. 2.6, Etude 2 m. 7 29 Ex. 2.7, Etude 2 m. 8 30 Ex. 2.8, Etude 2 m. 9 31 Ex. 2.9, Etude 2, m. 10-12 32 Ex. 2.10, Etude 2 m. 14 33 Ex. 2.11, Etude 2, m. 15 34 Ex. 2.12, Etude 2, m. 16 34 Ex. 2.13, Etude 2, m. 17-20 35 Ex. 2.14, Etude 2, m. 22 35 Ex. 2.15, Etude 2, m. 23 36 Ex. 2.16, Etude 2, m. 25-27 36 Ex. 3.1, Etude 3, m. 1-6 37 Ex. 3.2, Etude 3, m. 19-21 40 Ex. 4.1, Etude 4, m. 1-13 41 Ex. 4.2, Etude 4, m. 15-16 42 Ex. 5.1, Etude 5, m. 1-12 43 6 LIST OF MUSICAL EXAMPLES - continued Ex. 6.1, Etude 6, m. 1-11 45 Ex. 6.2, Etude 6, m. 28-31 46 Ex. 7.1, Etude 7, m.1-11 47 Ex. 7.2 Etude 7, m. 12-15 49 Ex. 7.3, Etude 7, m. 22-25 49 Ex. 7.4, Etude 7, m. 41-45 50 Ex. 7.5, Etude7, m. 46-51 51 Ex. 8.1, Etude 8, m. 1-16 52 Ex. 8.2, Etude 8, m. 17-26 52 Ex. 8.3, Etude 8, m. 27-32 53 Ex. 9.1, Etude 9, m. 1-4 54 Ex. 9.2, Etude 9, m. 11-17 55 Ex. 9.3, Etude 9, m. 10 56 Ex. 9.4, Etude 9, m. 30-35 56 Ex. 9.5, Etude 9, m. 42-45 57 Ex. 10.1, Etude 10, m. 21-30 59 Ex. 10.2, Etude 10, m. 66-68 60 Ex. 11.1, Etude 11, m. 1-3 61 Ex. 11.2, Etude 11, m. 15-23 62 Ex. 11.3, Etude 11, m. 19 63 Ex. 11.4, Etude 11, m. 24-27 64 Ex. 11.5 Etude 11, m. 50-55 65 Ex. 12.1, Etude 12, m. 1-7 66 Ex. 12.2, Etude 12, m. 12-13 67 Ex. 12.3, Etude 12, m. 22-29 68 Ex. 12.4, Etude 12, m. 39-50 69 7 ABSTRACT The subject of this document is the embedded didactic purpose of concert pieces for the guitar written by Heitor Villa-Lobos that have been titled etude. The Twelve Etudes of Heitor Villa-Lobos are unique examples of virtuoso concert pieces that also serve as studies of numerous aspects of guitar technique; I will attempt to demonstrate how these didactic elements are contained within these works and how they can be used to improve technique by performing a brief pedagogical analysis of each piece. This document will be limited to six of the Twelve Etudes for Guitar written between 1924 andl929. The Etudes were first published in 1953. Each etude will be analyzed from a pedagogical perspective. A pedagogical analysis is the analysis of a piece to extract any didactic purpose the composer clearly had implied from the music; that is, not creating new exercises out of patterns or certain technical difficulties, but using the piece only in its original form. The existing literature concerning the Twelve Etudes for Guitar by Heitor Villa-Lobos has been limited to theoretical analysis and historical matters, with the exception of the work by Abel Carlevaro. The use of these pieces lies primarily in concert performance because of the compositional quality and technical difficulty. Also, any didactic intention of most of the Etudes is not easily seen on the surface as with many other collections of works titled etudes. Therefore, the need for a study 8 such as this is evidenced primarily in this lack of attention to the purely pedagogical significance of these Etudes. 9 CHAPTER ONE: INTRODUCTION The subject of this document is the embedded didactic purpose of concert pieces for the guitar written by Heitor Villa-Lobos that have been titled etude. The study will be limited to the Twelve Etudes for Guitar written between 1924 and 1929 Vere first published in 1953^. Each etude will be analyzed from a pedagogical perspective. A pedagogical analysis is the analysis of a piece to extract any didactic purpose the composer clearly had implied from the music; that is, not creating new exercises out of patterns or certain technical difficulties, but using the piece only in its original form. The Twelve Etudes of Heitor Villa-Lobos are unique examples of virtuoso concert pieces that also serve as studies of numerous aspects of guitar technique. I will attempt to demonstrate how these didactic elements are contained within these works and how they can be used to improve technique by performing a detailed pedagogical analysis of each piece. The existing literature concerning the Twelve Etudes for Guitar by Heitor VUla-Lobos has been limited to theoretical analysis and historical matters. The use of these pieces lies primarily in concert performance because of the compositional quality and technical difficulty. Also, any didactic intention of most of the Etudes is not easily seen on the surface as with many other collections of works titled etudes. ' Turibio Santos, Heitor Villa-Lobos and the Guitar (Gurtnacloona, Bantry: Wise Owl Music, 1985), 21. 2 Gerard Behague, Heitor Villa-Lobos: The Search for Brazil's Musical Soul (Austin: University of Texas, 1994), 137.
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