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Osvaldo Lacerda: His Importance to Brazilian Music And Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Osvaldo Lacerda: His Importance to Brazillian Music and Elements of His Musical Style Carlos Eduardo Audi Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC OSVALDO LACERDA: HIS IMPORTANCE TO BRAZILIAN MUSIC AND ELEMENTS OF HIS MUSICAL STYLE By CARLOS EDUARDO AUDI A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2006 Copyright © 2006 Carlos Eduardo Audi All Rights Reserved Figure 1. Carlos Audi and Osvaldo Lacerda, 10 July 2006 ii The members of the Committee approve the treatise of Carlos Eduardo Audi defended on November 6, 2006. _______________________ Evan Jones Professor Directing Treatise _______________________ Dale Olsen Outside Committee Member _______________________ Michael Allen Committee Member _______________________ Bruce Holzman Committee Member The office of Graduate Studies has verified and approved the above named committee members. iii To my wife Adriana, my daughter Carolina, and my parents Ademir and Clélia who I love so dearly. iv ACKNOWLEDGEMENTS I would like to thank Dr. Evan Jones, treatise director, for his guidance, insightful expertise, and words of encouragement. I also would like to thank the other committee members – Dr. Dale Olsen, Dr. Michael Allen, and Mr. Bruce Holzman – for their help with this project. Finally, I want to express my gratitude to Osvaldo Lacerda who so graciously opened his house for an interview and whose talent has greatly enriched the music of Brazil. v TABLE OF CONTENTS List of Examples .............................................................................................................. viii Abstract............................................................................................................................. xii INTRODUCTION .............................................................................................................. 1 I. OSVALDO LACERDA’S BIOGRAPHY ...................................................................... 4 Musical Formation.......................................................................................................... 4 Professional Career ......................................................................................................... 6 Prizes, Awards, and Recognitions .................................................................................. 8 II. MUSICAL NATIONALISM IN BRAZIL .................................................................. 11 Folk and Popular Music................................................................................................ 11 European Contribution.............................................................................................. 12 African Contribution................................................................................................. 13 Amerindian Contribution.......................................................................................... 14 Nationalist Art-Music ................................................................................................... 16 Sigismund von Neukomm ........................................................................................ 16 Carlos Gomes............................................................................................................ 16 Brasílio Itiberê Cunha............................................................................................... 17 Alexandre Levy......................................................................................................... 17 Alberto Nepomuceno................................................................................................ 18 Luciano Gallet........................................................................................................... 22 Mário de Andrade ..................................................................................................... 22 Heitor Villa-Lobos.................................................................................................... 24 Mozart Camargo Guarnieri....................................................................................... 26 III. LACERDA’S IMPORTANCE TO BRAZILIAN MUSIC ........................................ 29 Lacerda as a Composer ................................................................................................. 29 Nationalist Heritage .................................................................................................. 29 Lacerda’s Musical Style............................................................................................ 30 Lacerda’s Ideas ......................................................................................................... 31 Lacerda as a Teacher..................................................................................................... 32 Lacerda as a Promoter of Brazilian Music.................................................................... 33 IV. NATIONALISTIC ELEMENTS OF LACERDA’S MUSICAL STYLE.................. 35 Melody .......................................................................................................................... 35 Gregorian Modes ...................................................................................................... 36 Mixolydian Mode.................................................................................................. 36 Lydian Mode......................................................................................................... 38 “Northeast” Mode ................................................................................................. 40 vi Dorian Mode ......................................................................................................... 41 Pentatonic Scale........................................................................................................ 44 Hexatonic Scale ........................................................................................................ 51 Descending Melodic Contour ................................................................................... 51 Large Melodic Intervals............................................................................................ 54 Narrow-Ranged Melodies......................................................................................... 55 Melody Ending Note other than the Tonic ............................................................... 58 Rhythm.......................................................................................................................... 63 Syncopation............................................................................................................... 63 “Brasileirinho” ...................................................................................................... 63 Habanera-Derived Syncopation............................................................................ 73 Ostinato and Repeated Notes.................................................................................... 77 3+3+2 Rhythmic Pattern........................................................................................... 85 Polyphony ..................................................................................................................... 87 Country Thirds (Terças Caipiras) ............................................................................. 88 Melodic Bass of the Guitar ....................................................................................... 91 Counterpoint and Thematic Variations of the Flute ................................................. 97 Harmony: Modulation to the Subdominant Minor in Minor Mode.............................. 99 V. NON-NATIONALISTIC ELEMENTS OF LACERDA’S MUSICAL STYLE ....... 102 Camargo Guarnieri’s Influence................................................................................... 102 Augmented Sixth Chords........................................................................................ 102 Absence of Key Signature ...................................................................................... 112 Atonalism and Twelve-Tone Music........................................................................ 112 Villa-Lobos’ Influence................................................................................................ 115 Unresolved Dissonances ......................................................................................... 116 Incomplete Chords.................................................................................................. 122 Bitonality................................................................................................................. 123 Impressionism............................................................................................................. 124 Whole-Tone Scale................................................................................................... 125 Quartal Sonorities ................................................................................................... 128 Planing .................................................................................................................... 130 Pedal Point .............................................................................................................
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