DOCSLIB.ORG

The Influences of the French Flute School on Brazilian Flute Pedagogy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Influences of the French Flute School on Brazilian Flute Pedagogy The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2017 The Influences of the rF ench Flute School on Brazilian Flute Pedagogy Fabiana Magrinelli Rocha Dahmer University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Performance Commons Recommended Citation Magrinelli Rocha Dahmer, Fabiana, "The Influences of the rF ench Flute School on Brazilian Flute Pedagogy" (2017). Dissertations. 1401. https://aquila.usm.edu/dissertations/1401 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. THE INFLUENCE OF THE FRENCH FLUTE SCHOOL ON BRAZILIAN FLUTE PEDAGOGY by Fabiana Magrinelli Rocha Dahmer A Dissertation Submitted to the Graduate School and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: ________________________________________________ Dr. Danilo Mezzadri, Committee Chair Associate Professor, Music ________________________________________________ Dr. Kim Woolly, Committee Member Associate Professor, Music ________________________________________________ Dr. Jacqueline McIlwain, Committee Member Assistant Professor, Music ________________________________________________ Dr. Joseph Brumbeloe, Committee Member Associate Professor, Music ________________________________________________ Dr. Edward Hafer Committee Member Associate Professor, Music _______________________________________________ Dr. Richard Kravchak Director, School of Music ________________________________________________ Dr. Karen S. Coats Dean of the Graduate School May 2017 Copyright by Fabiana Magrinelli Rocha Dahmer 2017 Published by the Graduate School ABSTRACT THE INFLUENCES OF THE FRENCH FLUTE SCHOOL ON BRAZILIAN FLUTE PEDAGOGY by Fabiana Magrinelli Rocha Dahmer May 2017 In the second half of the twentieth century, flute teaching in Brazil improved considerably. The immigration of French flutists to Brazil and the exchange programs where Brazilian flutists went to study in France made a significant impact on the flute pedagogy in Brazil. This dissertation traces the influence of the French Flute School in Brazil by presenting the careers of the four most influential flutists living in Brazil today and how they can be traced back to the legendary flutist and teacher Paul Taffanel. Two of these flutists, Odette Ernest Dias and Jean-Nöel Saghaard, are French but moved to Brazil in the second part of the twentieth century to join the Brazilian Symphony Orchestra. They performed and taught in distinguished universities and festivals over several decades, perpetuating the teachings of the French Flute School. Furthermore, along with Dias and Saghaard, two Brazilian flutists are presented, Celso Woltzenloegel and Antonio Carrasqueira. Woltzenloegel and Carrasqueira both studied in France with important teachers of the French Flute School and subsequently returned to Brazil to teach at major universities and festivals. Moreover, this research defines the characteristics of the French Flute School and how its development was paralleled in Brazil prior to the influence of these four flutists. Additionally, a comparison between the first Brazilian flute method, Celso Woltzenloegel’s Método Ilustrado de Flauta, and the important French method, Taffanel- ii Gaubert’s Méthode Complète de Flûte, is presented as the fundamental evidence of the French influence on Brazilian flute pedagogy. iii ACKNOWLEDGMENTS First and foremost, I would like to thank my advisor, Dr. Danilo Mezzadri, for his support and contributions to all aspects of this dissertation. Without his guidance and feedback, this research would not have been possible. I also would like to express my appreciation to my committee members for their scholarly inputs and assistance. And extend my deepest gratitude to Luiz Fernando Barbosa Jr. and Felipe Wieczorek Villa Boas for their help with the interviews I had to conduct in Brazil. A very special thank to Dr. Susan Ruggiero for her valuable suggestions and advice during the last stages of this research. iv DEDICATION The completion of this dissertation has been a truly life-changing experience for me and it would not have been possible without the support and encouragement that I received from many people. To those I dedicate this work. I would like to thank my mother for never ceasing to support me during the long days I spent writing this document. I also would like to thank my family for their love and inspiration. And last but not least, I would like to thank my husband, Samuel Dahmer, for his support, love, advice, and encouragement throughout this journey. v TABLE OF CONTENTS ABSTRACT ........................................................................................................................ ii ACKNOWLEDGMENTS ................................................................................................. iv DEDICATION .................................................................................................................... v LIST OF TABLES ........................................................................................................... viii LIST OF ILLUSTRATIONS ............................................................................................. ix LIST OF MUSICAL EXAMPLES ..................................................................................... x CHAPTER I - INTRODUCTION ...................................................................................... 1 CHAPTER II – THE FRENCH FLUTE SCHOOL ............................................................ 5 CHAPTER III – THE FRENCH FLUTE SCHOOL IN BRAZIL .................................... 22 The arrival of the Boehm Flute and the foundation of a Brazilian Flute School .......... 22 The link to the French Flute School of Taffanel ........................................................... 29 Ambassadors of the French Flute School in Brazil ...................................................... 34 Odette Ernest Dias (b.1929) ...................................................................................... 34 Jean-Noël Saghaard (b.1930) .................................................................................... 37 Celso Woltzenloegel (b.1940) .................................................................................. 40 Antonio Carrasqueira (b.1952) ................................................................................. 43 CHAPTER IV – THE FLUTE METHOD BY CELSO WOLTZENLOEGEL: A COMPARISON BETWEEN IT AND THE TAFFANEL-GAUBERT METHOD. ........ 49 CHAPTER V - CONCLUSION ....................................................................................... 82 vi APPENDIX A – INTERVIEWS TRANSLATED TO ENGLISH ................................... 84 APPENDIX B – INTERVIEWS IN PORTUGUESE ..................................................... 118 APPENDIX C – IRB Approval Letter ............................................................................ 152 BIBLIOGRAPHY ........................................................................................................... 153 vii LIST OF TABLES Table 1. Brazilian professors and their ancestral connection to the French Flute School. ........................................................................................................................................... 32 Table 2. Similarities of the titles in the table of content for each method. ...................... 56 viii LIST OF ILLUSTRATIONS Figure 1. Celso Woltzenloegel, Método Ilustrado de Flauta, p. 45. ................................ 58 Figure 2. Taffanel-Gaubert, Méthode Complète de Flûte, p. 7. ....................................... 58 Figure 3. Taffanel-Gaubert, Méthode Complète de Flûte, p. 2. ....................................... 59 Figure 4. Celso Woltzenloegel, Método Ilustrado de Flauta, p. 56. ................................ 60 Figure 5. Taffanel-Gaubert, Méthode Complète de Flûte, p. 4. ....................................... 61 Figure 6. Celso Woltzenloegel, Método Ilustrado de Flauta, p. 45. ................................ 62 Figure 7. Celso Woltzenloegel, Método Ilustrado de Flauta, p. 50. ................................ 63 Figure 8. Celso Woltzenloegel, Método Ilustrado de Flauta, p. 48. ................................ 64 Figure 9. A picture of Taffanel taken in the back garden of his home (c.1906) .............. 65 Figure 10. Celso Woltzenloegel’s Método Ilustrado de Flauta, p. 318. .......................... 79 ix LIST OF MUSICAL EXAMPLES Musical Example 1. Taffanel-Gaubert, Méthode Complète de Flûte, p. 10. .................... 66 Musical Example 2. Woltzenloegel, Método Ilustrado de Flauta, p. 59. ......................... 66 Musical Example 3. Taffanel-Gaubert, Méthode Complète de Flûte, p. 20. .................... 67 Musical Example 4. Woltzenloegel, Método Ilustrado de Flauta, p. 72. ......................... 67 Musical Example 5. Taffanel-Gaubert, Méthode Complète de Flûte, p. 92. .................... 68 Musical Example 6. Woltzenloegel, Método Ilustrado de Flauta, p. 96. ......................... 68 Musical Example 7. Taffanel-Gaubert, Méthode Complète de Flûte, p. 99. .................... 69 Musical Example 8. Woltzenloegel, Método Ilustrado de Flauta, p.
Load more

Recommended publications
  • The Historic Recordings of the Song Desafinado: Bossa Nova Development and Change in the International Scene1
    The historic recordings of the song Desafinado: Bossa Nova development and change in the international scene1 Liliana Harb Bollos Universidade Federal de Goiás, Brasil [email protected] Fernando A. de A. Corrêa Faculdade Santa Marcelina, Brasil [email protected] Carlos Henrique Costa Universidade Federal de Goiás, Brasil [email protected] 1. Introduction Considered the “turning point” (Medaglia, 1960, p. 79) in modern popular Brazi- lian music due to the representativeness and importance it reached in the Brazi- lian music scene in the subsequent years, João Gilberto’s LP, Chega de saudade (1959, Odeon, 3073), was released in 1959 and after only a short time received critical and public acclaim. The musicologist Brasil Rocha Brito published an im- portant study on Bossa Nova in 1960 affirming that “never before had a happe- ning in the scope of our popular music scene brought about such an incitement of controversy and polemic” (Brito, 1993, p. 17). Before the Chega de Saudade recording, however, in February of 1958, João Gilberto participated on the LP Can- ção do Amor Demais (Festa, FT 1801), featuring the singer Elizete Cardoso. The recording was considered a sort of presentation recording for Bossa Nova (Bollos, 2010), featuring pieces by Vinicius de Moraes and Antônio Carlos Jobim, including arrangements by Jobim. On the recording, João Gilberto interpreted two tracks on guitar: “Chega de Saudade” (Jobim/Moraes) and “Outra vez” (Jobim). The groove that would symbolize Bossa Nova was recorded for the first time on this LP with ¹ The first version of this article was published in the Anais do V Simpósio Internacional de Musicologia (Bollos, 2015), in which two versions of “Desafinado” were discussed.
    [Show full text]
  • Time 1925 1930 1935 1940 1945 1950 1955 1960 1965 1970 1975 1980 1985 1990 1995 2000 2005 2010
    Giulio Gatti Casazza 1926 Director, Metropolitan Opera Arturo Toscanini Leopold Stokowski 1926 1930 Conductor Conductor Pietro Mascagni Lucrezia Bori James Cæsar Petrillo 1926 1930 1948 Composer Singer Head, American Federation of Musicians Richard Strauss Alfred Hertz Sergei Koussevitsky Helen Traubel Charles Munch 1938 1927 1930 1946 1949 Composer and conductor Conductor Conductor Singer Conductor Ignace J Paderewski Geraldine Farrar Joseph Deems Taylor Marian Anderson Cole Porter 1939 1927 1931 1946 1949 Kirsten Flagstad Pianist, politician Singer Composer, critic Singer Composer 1935 Lauritz Melchior Giulio Gatti-Casazza Ignace Jan Paderewski Yehudi Menuhin Singer Artur Rodziński Gian Carlo Menotti Maria Callas 1940 1923 1928 1932 1947 1950 1956 Artur Rubinstein Edward Johnson Singer Director, Metropolitan Opera Pianist, politician Violinist; 16 years old Conductor Composer Singer 1966 1936 Leopold Stokowski Pianist Johann Sebastian Bach Nellie Melba Mary Garden Lawrence Tibbett Singer Arturo Toscanini Mario Lanza & Enrico Caruso Leonard Bernstein 1940 1968 1927 1930 1933 1948 1951 1957 Jean Sibelius Conductor Dmitri Shostakovich Composer (1685–1750) Singer Singer Singer Conductor Singers Composer, conductor 1937 1942 Beverly Sills Richard Strauss Rosa Ponselle Arturo Toscanini Composer Composer Benjamin Britten Patrice Munsel Renata Tebaldi Rudolf Bing Luciano Pavarotti 1971 1927 1931 1934 1948 1951 1958 1966 1979 Sergei Koussevitsky Sir Thomas Beecham Leontyne Price Singer Georg Solti Composer, conductor Singer Conductor Composer
    [Show full text]
  • Enrico Caruso (1873-1921)
    ENRICO CARUSO (1873-1921) Birth Name: Enrico Caruso Place of Birth: Naples, Italy Career Highlights: Enrico Caruso was widely considered the greatest international opera star of his day. He was not American – Caruso was born and died in Naples, Italy – but he spent many years living in New York as a leading star at the Metropolitan Opera, and was the United States’ first recording superstar, issuing almost 300 recordings with the Victor Talking Machine Company (later RCA). While much of his recording focused on operatic works, Caruso recorded many popular songs, including the Neapolitan (southern Italian) song “O Sole Mio,” in the language of his native Naples. (In 1960, Elvis Presley had a No. 1 hit with the song “It’s Now or Never,” sung to same tune as “O Sole Mio.”) In 1918, Caruso recorded the patriotic American World War I song “Over There.” Recording: “O Sole Mio” (traditional Italian song), 1916 Recording: “Over There” (patriotic World War I song), 1918 Questions to consider: What cities are the newspapers below from? What does the size and placement of the articles about Caruso’s death suggest about his popularity in the United States? What are some of the terms used to describe Caruso in the headlines to these articles? Why might American audiences have been interested in listening to recordings of popular Italian songs? What does Caruso’s recording of a song like “Over There” suggest about his attitude toward the United States? About Americans’ attitudes toward him? Why might it have been easier for an Italian to find success as an opera star in the United States during this period than in another field? How might Caruso’s success have helped paved the way for singers of Italian descent who came after him?.
    [Show full text]
  • Hemsing Associates, Inc
    Hemsing Associates, Inc. 401 East 80th Street, Suite 14H New York, NY 10075-0650 Tel.: 212/772-1132 Fax: 212/628-4255 HEMSING ASSOCIATES Public Relations for the Arts Josephine Hemsing Managing Director Dan Cameron Managing Director Vanessa Meiling Haynes Publicity Associate Ellen Churui Li Publicity Associate Joanna Malinowska Graphics Designer www.hemsingpr.com FOR IMMEDIATE RELEASE MUSICIANS FOUNDATION TO RECEIVE $25,000 GRANT FROM THE NATIONAL ENDOWMENT FOR THE ARTS Funds To Be Used To Organize NYC Conference Slated For Fall 2021 To Focus On Performing Artists’ Needs in Time of Crisis June 29, 2020, New York City—The Musicians Foundation is honored to announce that it has been granted a generous Art Works award of $25,000 from the National Endowment for the Arts. Funds are to be used to organize a national conference of organizations that assist professional performing artists in times of need and crisis. The conference, which gains urgency and a new significance in the COVID-19 pandemic, is currently slated to take place in New York City in the fall of 2021 and will address the situation in which performing artists have suffered extreme loss of income as current and future engagements have been cancelled. (Depending on COVID-19 government guidelines, the conference might be postponed till spring 2022.) The conference will be organized by the Musicians Foundation in tandem with a Steering Committee of national and regional organizations, including the Actors Fund, MusiCares, Jazz Foundation, and Episcopal Actors Guild. Founded in 1914 by the Bohemians, a group of musicians and music lovers, the Musicans Foundation was first led by such important figures as Frank Damrosch, Franz Kneisel, Rubin Goldmark (teacher to Aaron Copland and George Gershwin,) and Rudolf Schirmer.
    [Show full text]
  • Relatório De Músicas Veiculadas
    Relatório de Programação Musical Razão Social: Fundação de Ensino e Tecnologia de Alfenas CNPJ: 17878554001160 Nome Fantasia: Rádio Universidade FM Dial: 106,7 Cidade: Alfenas UF: MG Execução Data Hora Descrição Intérprete Compositor Gravadora Ao Vivo Mecânico 01/12/2017 00:01:25 Fechamento da Emissora CAMILO ZAPONI X 01/12/2017 07:00:00 Hino Nacional Brasileiro ABERTURA Francisco Manuel da Silva e Osório Duque X Estrada 01/12/2017 07:03:33 Abertura da Emissora CAMILO ZAPONI X 01/12/2017 07:04:51 Prefixo Reinaldo Amâncio X 01/12/2017 07:05:26 Carinhoso CAMILO ZAPONI X 01/12/2017 07:05:46 Sofres Porque Queres Altamiro Carrilho Pixinguinha e Benedito Lacerda Movie Play X 01/12/2017 07:09:04 Lamentos Altamiro Carrilho Pixinguinha e Vinícius de Moraes Movie Play X 01/12/2017 07:12:22 Na Cadência do Samba Waldir Azevedo Ataulfo Alves e Paulo Gesta Continental X 01/12/2017 07:15:00 Camondongo Waldir Azevedo Waldir Azevedo e Moacyr M. Gomes Continental X 01/12/2017 07:17:19 O Violão da Viola do Cerrado Carrapa do Cavaquinho e a Cia de Música Carrapa do Cavaquinho Zen Records X 01/12/2017 07:20:19 Dobradinha Brasileira Carrapa do Cavaquinho e a Cia de Música Carrapa do Cavaquinho Zen Records X 01/12/2017 07:22:25 Nunca Benedito Costa e Seu Conjunto Lupicínio Rodrigues Brasidisc X 01/12/2017 07:25:08 Pedacinhos do Céu Benedito Costa e Seu Conjunto Waldir Azevedo Brasidisc X 01/12/2017 07:28:15 Levanta Poeira Orlando Silveira Zequinha de Abreu EMI X 01/12/2017 07:30:50 Sururu na Cidade Orlando Silveira Zequinha de Abreu EMI X 01/12/2017 07:33:37
    [Show full text]
  • Pan-March-2020.Pdf
    PANJOURNAL OF THE BRITISH FLUTE SOCIETY MARCH 2020 “This is my Flute. There are many like it, but this one is mine” Juliette Hurel Maesta 18K - Forte Headjoint pearlflutes.eu Principal Flautist of the Rotterdam Philharmonic Orchestra contents The British Flute Society news & events 24 President 2 BFS NEWS William Bennett OBE 4 NOTES FROM THE CHAIR 6 NEWS Vice President 11 FLUTE CHOIR NEWS Wissam Boustany 13 TRADE NEWS 14 EVENTS LISTINGS Honorary Patrons 16 INTERNATIONAL EVENTS Sir James Galway 23 FLUTE CHOIR FOCUS: and Lady Jeanne Galway WOKING FLUTE CHOIR 32 Conductorless democracy in action. Vice Presidents Emeritus Atarah Ben-Tovim MBE features Sheena Gordon 24 ALEXANDER MURRAY: I’VE GONE ON LEARNING THE FLUTE ALL MY LIFE Secretary Cressida Godfrey examines an astonishing Rachel Shirley career seven decades long and counting. [email protected] 32 CASE FOR MOVEMENT EDUCATION Musicians move for a living. Kelly Mollnow 39 Membership Secretary Wilson shows them how to do it freely and [email protected] efficiently through Body Mapping. 39 WILLIAM BENNETT’S The British Flute Society is a HAPPY FLUTE FESTIVAL Charitable Incorporated Organisation Edward Blakeman describes some of the registered charity number 1178279 enticing treats on offer this summer in Wibb’s feel-good festival. Pan 40 GRADED EXAMS AND BEYOND: The Journal of the EXPLORING THE OPTIONS AVAILABLE 40 British Flute Society The range of exams can be daunting for Volume 39 Number 1 student and teacher alike. David Barton March 2020 gives a comprehensive review. 42 STEPHEN WESSEL: Editor A NATIONAL TREASURE Carla Rees Judith Hall gives a personal appreciation of [email protected] the flutemaker in the year of his retirement.
    [Show full text]
  • The Commissioned Flute Choir Pieces Presented By
    THE COMMISSIONED FLUTE CHOIR PIECES PRESENTED BY UNIVERSITY/COLLEGE FLUTE CHOIRS AND NFA SPONSORED FLUTE CHOIRS AT NATIONAL FLUTE ASSOCIATION ANNUAL CONVENTIONS WITH A BRIEF HISTORY OF THE FLUTE CHOIR AND ITS REPERTOIRE DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Yoon Hee Kim Graduate Program in Music The Ohio State University 2013 D.M.A. Document Committee: Katherine Borst Jones, Advisor Dr. Russel C. Mikkelson Dr. Charles M. Atkinson Karen Pierson Copyright by Yoon Hee Kim 2013 Abstract The National Flute Association (NFA) sponsors a range of non-performance and performance competitions for performers of all ages. Non-performance competitions are: a Flute Choir Composition Competition, Graduate Research, and Newly Published Music. Performance competitions are: Young Artist Competition, High School Soloist Competition, Convention Performers Competition, Flute Choirs Competitions, Professional, Collegiate, High School, and Jazz Flute Big Band, and a Masterclass Competition. These competitions provide opportunities for flutists ranging from amateurs to professionals. University/college flute choirs perform original manuscripts, arrangements and transcriptions, as well as the commissioned pieces, frequently at conventions, thus expanding substantially the repertoire for flute choir. The purpose of my work is to document commissioned repertoire for flute choir, music for five or more flutes, presented by university/college flute choirs and NFA sponsored flute choirs at NFA annual conventions. Composer, title, premiere and publication information, conductor, performer and instrumentation will be included in an annotated bibliography format. A brief history of the flute choir and its repertoire, as well as a history of NFA-sponsored flute choir (1973–2012) will be included in this document.
    [Show full text]
  • The Flutist Quarterly Volume Xxxv, N O
    VOLUME XXXV , NO . 2 W INTER 2010 THE LUTI ST QUARTERLY Music From Within: Peter Bacchus Interviews Robert Dick Remembering Frances Blaisdell Running a Chamber Ensemble The Inner Flute: Lea Pearson THE OFFICIAL MAGAZINE OF THE NATIONAL FLUTE ASSOCIATION , INC :ME:G>:C8: I=: 7DA9 C:L =:69?D>CI ;GDB E:6GA 6 8ji 6WdkZ i]Z GZhi### I]Z cZl 8Vadg ^h EZVgaÉh bdhi gZhedch^kZ VcY ÓZm^WaZ ]ZVY_d^ci ZkZg XgZViZY# Djg XgV[ihbZc ^c ?VeVc ]VkZ YZh^\cZY V eZg[ZXi WaZcY d[ edlZg[ja idcZ! Z[[dgiaZhh Vgi^XjaVi^dc VcY ZmXZei^dcVa YncVb^X gVc\Z ^c dcZ ]ZVY_d^ci i]Vi ^h h^bean V _dn id eaVn# LZ ^ck^iZ ndj id ign EZVgaÉh cZl 8Vadg ]ZVY_d^ci VcY ZmeZg^ZcXZ V cZl aZkZa d[ jcbViX]ZY eZg[dgbVcXZ# EZVga 8dgedgVi^dc *). BZigdeaZm 9g^kZ CVh]k^aaZ! IC (,'&& -%%".),"(',* l l l # e Z V g a [ a j i Z h # X d b Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXV, N O. 2 W INTER 2010 DEPARTMENTS 5 From the Chair 51 Notes from Around the World 7 From the Editor 53 From the Program Chair 10 High Notes 54 New Products 56 Reviews 14 Flute Shots 64 NFA Office, Coordinators, 39 The Inner Flute Committee Chairs 47 Across the Miles 66 Index of Advertisers 16 FEATURES 16 Music From Within: An Interview with Robert Dick by Peter Bacchus This year the composer/musician/teacher celebrates his 60th birthday. Here he discusses his training and the nature of pedagogy and improvisation with composer and flutist Peter Bacchus.
    [Show full text]
  • Brazilian Choro
    The Brazilian by Tadeu Coelho and Julie Koidin Choro: Historical Perspectives and Performance Practices alanço is to choro as swing is to jazz—in both, mandatory elements to proper performance Band enjoyment of the music. Immersion in the sound of choro is imperative to playing it well. Knowledge of its origins and history is also helpful. Introduction the melody through spirited improvisations, sometimes David Willoughby, editor of the College Music Society quoting other melodies, from popular to classical styles. Newsletter, posed these questions: Should it not be a con- Although easier to decipher these performance intricacies stantly sought after goal for musicians trained in narrow via recordings, it still remains difficult—although not specialties to work together towards broader musical impossible—to catch the “twinkle” in the performer’s eye. understandings and towards the creation of a more Choro’s limited dissemination is furthered by its lack of vibrant musical culture? Should such a culture comprise accurate printed music. The vast majority of sheet music only materials imported from Western Europe? Should it publications have accompaniment that is written in a lead not synthesize musical repertories, of various kinds, from sheet format, i.e. chord symbols over melody. Without a all over the world?1 recording, it would be impossible to decipher the rhythms Throughout the world, the tradition of a country studying used in the accompaniment. The numerous errors found in its own cultural practices is not inceptive with its art. Such is the majority of publications, both in the melodic lines and the case of the choro, an indigenous music of Brazil, mostly chord symbols, further infringe on the probability of the instrumental, but at times with lyrics.
    [Show full text]
  • DOI: 10.12957/Transversos.2021.54887
    DOI: 10.12957/transversos.2021.54887 100 ANOS DE ELISETE CARDOSO: DE CROONER À DIVINA 100 YEARS OF ELISETE CARDOSO: FROM CROONER TO DIVINE Marilda de Santana Silva Universidade Federal da Bahia (UFBA) [email protected] Resumo: Abstratc: O objetivo do presente artigo é comemorar o This article aims to celebrate the Elisete centenário de nascimento de Elisete Cardoso Cardoso's centenary of birth, the singer if she que se estivesse viva completaria 100 anos em were alive would complete 100 years old in 16 de julho de 2020. A Divina, como foi July 20th, 2020. The Divine, how she was denominada pelo jornalista Haroldo Barbosa, called by the journalist Haroldo Barbosa, fez escola e história na música popular made school and story in the Música Popular brasileira. Assim, o que se pretende é destacar Brasileira. Thus, what is intended is highlight cinco gravações importantes em sua carreira, five songs very important in her career, costurada de maneira aparentemente apparently sewed in an informal way with the informal com a narrativa da minha história, narrative of my story, that I am also singer, her que também sou cantora, sua importância na importance in my trajectory that culminates in minha trajetória que culmina na audiência do the audience of the show in honor of Elisete , show em sua homenagem, em março de 2020, in march, 2020, at SESC Pinheiros. In this no SESC Pinheiros. Neste sentido, além de sense, beyond the binomial gender and race, I sua história de vida, do binômio gênero e raça, get inspired in the Conceição Evaristo me inspiro na escrevivência de Conceição escrevivência, that the experience in brazilian Evaristo cuja experiência na sociedade society is crossed by the condition of been a brasileira é atravessada pela condição de ser black woman.
    [Show full text]
  • 2018 Available in Carbon Fibre
    NFAc_Obsession_18_Ad_1.pdf 1 6/4/18 3:56 PM Brannen & LaFIn Come see how fast your obsession can begin. C M Y CM MY CY CMY K Booth 301 · brannenutes.com Brannen Brothers Flutemakers, Inc. HANDMADE CUSTOM 18K ROSE GOLD TRY ONE TODAY AT BOOTH #515 #WEAREVQPOWELL POWELLFLUTES.COM Wiseman Flute Cases Compact. Strong. Comfortable. Stylish. And Guaranteed for life. All Wiseman cases are hand- crafted in England from the Visit us at finest materials. booth 408 in All instrument combinations the exhibit hall, supplied – choose from a range of lining colours. Now also NFA 2018 available in Carbon Fibre. Orlando! 00 44 (0)20 8778 0752 [email protected] www.wisemanlondon.com MAKE YOUR MUSIC MATTER Longy has created one of the most outstanding flute departments in the country! Seize the opportunity to study with our world-class faculty including: Cobus du Toit, Antero Winds Clint Foreman, Boston Symphony Orchestra Vanessa Breault Mulvey, Body Mapping Expert Sergio Pallottelli, Flute Faculty at the Zodiac Music Festival Continue your journey towards a meaningful life in music at Longy.edu/apply TABLE OF CONTENTS Letter from the President ................................................................... 11 Officers, Directors, Staff, Convention Volunteers, and Competition Committees ................................................................ 14 From the Convention Program Chair ................................................. 21 2018 Lifetime Achievement and Distinguished Service Awards ........ 22 Previous Lifetime Achievement and Distinguished
    [Show full text]
  • Marino Pinto, Um Compositor Modesto
    André Luís Pires Leal Câmara Eu faço sambas de ouvido pra você: Marino Pinto, um compositor modesto Tese de Doutorado Tese apresentada ao Programa de Pós- graduação em Literatura, Cultura e Contemporaneidade como requisito parcial para obtenção do grau de Doutor em Literatura, Cultura e Contemporaneidade/ Letras. Orientador: Prof. Júlio Cesar Valladão Diniz Rio de Janeiro Abril de 2017 ANDRÉ LUIS PIRES LEAL CAMARA Eu faço sambas de ouvido pra você: Ma- rino Pinto, um compositor modesto Defesa de Tese apresentada como requi- sito parcial para obtenção do grau de Dou- tor pelo Programa de Pós-Graduação em Literatura, Cultura e Contemporaneidade do Departamento de Letras do Centro de Teologia e Ciências Humanas da PUC-Rio. Aprovada pela Comissão Examinadora abaixo assinada. Prof. Júlio Cesar Valladão Diniz Orientador Departamento de Letras – PUC-Rio Prof. Miguel Jost Ramos Departamento de Letras – PUC-Rio Prof. Antonio Edmilson Martins Rodrigues Departamento de História – PUC-Rio Profa. Sylvia Helena Cyntrão UNB Prof. Frederico Augusto Liberalli de Góes UFRJ Profa. Monah Winograd Coordenadora Setorial do Centro de Teologia e Ciências Humanas – PUC-Rio Rio de Janeiro, 12 de abril de 2017. Todos os direitos reservados. É proibida a reprodução total ou parcial do trabalho sem autorização da universidade, do autor e do orientador. André Luís Pires Leal Câmara Jornalista e pesquisador, integrou a equipe do Dicionário Cravo Albin da música popular brasileira, publicou artigos na imprensa e em blogs na internet, além de atuar nas áreas de comunicação empresarial e assessoria de comunicação. Mestre em Letras pela PUC-Rio, em março de 2004 defen- deu a dissertação Na encruzilhada da Lopes Chaves: encontros e descaminhos em Mário de Andrade.
    [Show full text]