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A Pedagogical Approach to the Waltzes and Tangos for Piano By Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 3-24-2018 A Pedagogical Approach to the Waltzes and Tangos for Piano by Francisca Gonzaga Ana Paula Machado Simoes Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Education Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Machado Simoes, Ana Paula, "A Pedagogical Approach to the Waltzes and Tangos for Piano by Francisca Gonzaga" (2018). LSU Doctoral Dissertations. 4517. https://digitalcommons.lsu.edu/gradschool_dissertations/4517 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A PEDAGOGICAL APPROACH TO THE WALTZES AND TANGOS FOR PIANO BY FRANCISCA GONZAGA A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Ana Paula Machado Simoes B.M., Universidade do Estado de Minas Gerais, 2012 M.M., Oklahoma City University, 2015 May 2018 ACKNOWLEDGEMENTS I would like to thank my major professor Gregory Sioles for being patient, attentive, and insightful in my lessons. Thank you for supporting me and for giving me thoughtful advices that helped me so much and improved my playing and my thinking about music. I would also like to thank my pedagogy professor and advisor, Dr. Pike, for all your guidance on this project as well as in my teaching during these years. Your classes definitely changed my approach to teaching and inspired me to do always better for my students. Thank you for believing in me and encouraging me during this journey. I would like to thank my other committee member, Dr. Delony, and the Gradute School representative, Dr. Shport, for your time and willingness during this process. I would also like to thank my other LSU professors for sharing their knowledge, and Dr. Bade for all the help. In addition, I would like to thank Wandrei Braga, Alexandre Dias, and Maria Teresa Madeira for agreeing in participating on my survey and sharing your valuable opinion with me. I want to thank my family for all their support during these years abroad. Even from a distance, they were always present and encouraging in my endeavor to achieve my dreams. Thank you for believing and inspiring me. I also want to thank Wagner for being by my side, supporting and helping me. ii TABLE OF CONTENTS ACKNOWLEDGMENTS .............................................................................................................. ii LIST OF TABLES ......................................................................................................................... vi ABSTRACT .................................................................................................................................. vii CHAPTER 1. INTRODUCTION ....................................................................................................1 Short Biography of Francisca Gonzaga .......................................................................................1 Rediscovery of Chiquinha Gonzaga ............................................................................................4 Need of the Study.........................................................................................................................5 Purpose of the Study and Research Questions .............................................................................6 CHAPTER 2. REVIEW OF RELATED LITERATURE ................................................................8 Literature about Gonzaga’s Life and Social Context ...................................................................8 Literature about Gonzaga’s Works ..............................................................................................9 The Waltz and the Tango in Brazil ............................................................................................10 Popular Music in Brazilian Conservatories ...............................................................................12 CHAPTER 3. METHODOLOGY .................................................................................................14 Location of Sources ...................................................................................................................14 Sampling Strategies ...................................................................................................................15 Data Collection ..........................................................................................................................16 Data Analysis .............................................................................................................................18 Survey Protocol ..........................................................................................................................20 CHAPTER 4. THE WALTZES BY FRANCISCA GONZAGA ..................................................29 The Waltz in Brazil in the Nineteenth Century .........................................................................29 Characteristics of Chiquinha’s Waltzes .....................................................................................33 General Considerations about Musical Demands in Chiquinha’s Waltzes ...............................35 General Considerations about Technical Demands in Chiquinha’s Waltzes .............................40 General Considerations about Reading and Other Demands in Chiquinha’s Waltzes ..............44 CHAPTER 5. ANALYSIS OF SELECTED WALTZES BY CHIQUINHA GONZAGA ...........45 Bella Fanciulla Io T’Amo ..........................................................................................................45 Rosa............................................................................................................................................47 Juracy .........................................................................................................................................50 Saudade ......................................................................................................................................52 Promessa! ...................................................................................................................................54 Viva la Gracia/Platina ................................................................................................................56 Harmonia das Esferas ................................................................................................................58 Plangente ....................................................................................................................................61 Yara, Coração de Fogo ..............................................................................................................65 iii Animatógrafo .............................................................................................................................68 Cananéa ......................................................................................................................................70 Ortruda .......................................................................................................................................73 Walkyria .....................................................................................................................................75 Viver é Folgar ............................................................................................................................78 A Bela Jardineira........................................................................................................................80 Ary, Filha do Céu/Cariry ...........................................................................................................82 Perfume (Feno de Atkisons) ......................................................................................................85 Harmonias do Coração ...............................................................................................................87 Heloísa .......................................................................................................................................90 CHAPTER 6. THE TANGOS BY FRANCISCA GONZAGA.....................................................93 The Origins of the Tango Brasileiro ..........................................................................................93 The Tango Brasileiro in Art Music ...........................................................................................97 Characteristics of Chiquinha’s Tangos ....................................................................................100 General Considerations about Musical Demands in Chiquinha’s Tangos...............................105 General Considerations about Technical Demands in Chiquinha’s Tangos ............................109 General Considerations about Reading and Other Demands in Chiquinha’s Tangos .............114 CHAPTER 7. ANALYSIS OF SELECTED TANGOS BY CHIQUINHA GONZAGA ...........115 Gaúcho .....................................................................................................................................115
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