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RECONSIDERING BRAZILIAN REPRESENTATIONS in CHOROS No University of Kentucky UKnowledge Theses and Dissertations--Music Music 2013 RECONSIDERING BRAZILIAN REPRESENTATIONS IN CHOROS No. 5 AND BACHIANAS BRASILEIRAS No.4 FOR PIANO BY HEITOR VILLA-LOBOS Paula Maria Lima Galama University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Galama, Paula Maria Lima, "RECONSIDERING BRAZILIAN REPRESENTATIONS IN CHOROS No. 5 AND BACHIANAS BRASILEIRAS No.4 FOR PIANO BY HEITOR VILLA-LOBOS" (2013). Theses and Dissertations-- Music. 16. https://uknowledge.uky.edu/music_etds/16 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s dissertation including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Paula Maria Lima Galama, Student Dr. Irina Voro, Major Professor Dr. Lance Brunner, Director of Graduate Studies RECONSIDERING BRAZILIAN REPRESENTATIONS IN CHOROS No. 5 AND BACHIANAS BRASILEIRAS No.4 FOR PIANO BY HEITOR VILLA-LOBOS DOCTOR OF MUSICAL ARTS PROJECT A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor in Musical Arts in the College of Fine Arts ~ University of Kentucky School of Music. By Paula Maria Lima Galama Lexington, Kentucky Co-Directors: Dr. Irina Voro, Professor of Piano and Dr. Diana Hallman, Professor of Musicology Lexington, Kentucky 2013 Copyright © Paula Maria Lima Galama 2013 ABSTRACT OF DISSERTATION RECONSIDERING BRAZILIAN REPRESENTATIONS IN CHOROS No. 5 AND BACHIANAS BRASILEIRAS No.4 FOR PIANO BY HEITOR VILLA-LOBOS This study offers a reconsideration of the music of Villa-Lobos and its relationship to diverse musical expressions and musical syntheses in Brazil. Its primary purpose is to present a line of interpretative thought for Heitor Villa-Lobos’s piano compositions, emphasizing significant elements reflective of the folk and popular culture of Brazil that the composer integrates with stylistic features influenced by European art music traditions. It highlights Villa-Lobos’s adaptation of characteristic Brazilian dances, dance rhythms, melodies, direct quotations, and fragments of folk and popular tunes in Choros no. 5 (Alma Brasileira) and Bachianas Brasileiras no. 4 (Brazilian Bachianas no. 4). In the latter work, this study also considers the composer’s blend of Brazilian-based material with elements inspired by the work of Johann Sebastian Bach. In addition to stylistic analyses, an examination of the composer’s influences, intentions, and methods is fundamental to this study. This exploration offers insights into Villa-Lobos’s piano music and clarifies possible misinterpretations generated by lack of information about the composer’s musical contexts and his desires to represent Brazilian culture in his music. This discussion is intended to provide a basis for performing or interpretive solutions to the musical (including rhythmic and technical) complexities created by the use of folk and popular ideas in this repertoire. Divided into four chapters, this document begins with a brief overview of Villa- Lobos’s life and overall works in the first chapter. The second chapter contains a brief overview of the entire set of Choros with a focused examination of Choros no. 5. The third chapter discusses Villa-Lobos’s mixture of neoclassical and Brazilian elements within the set Bachianas Brasileiras, specifically no. 4, for piano. Descriptions and interpretations of the selected works are offered in the second and third chapters. The fourth chapter presents the conclusion of this research. Copyright © Paula Maria Lima Galama 2013 KEYWORDS: Brazilian Music, Villa-Lobos, Pianistic Interpretation, Alma Brasileira, Bachianas Brasileiras. Paula Maria Lima Galama Student’s signature April 4, 2013 Date Copyright © Paula Maria Lima Galama 2013 RECONSIDERING BRAZILIAN REPRESENTATIONS IN CHOROS No. 5 AND BACHIANAS BRASILEIRAS No.4 FOR PIANO BY HEITOR VILLA-LOBOS By Paula Maria Lima Galama Dr. Irina Vorobieva Co-Director of Dissertation Dr. Diana Hallman Co-Director of Dissertation Dr. Lance Brunner Director of Graduate Studies April 4, 2013 Date Copyright@Paula Maria Lima Galama 2013 To God, for He is my strength, To my mother, for she is my inspiration, To my family, for they are my pillars. To Peter, for he is my light. Copyright © Paula Maria Lima Galama 2013 ACKNOWLEDGEMENTS I would like to express my gratitude to my many friends who made this endeavor possible: Tamara Bustamante, who kept her faith in me and helped finalized this research; my friends in Brazil, especially Antônio Cardoso, Helder Trefzger, and Gina Denise Barreto Soares, who were very instrumental in helping me moving forward. I also would like to thank Dr. Roger Flint for his encouragement. I am truly grateful to my committee director, Dr. Irina Voro, for deeply transforming my view of piano interpretation and my relationship not only with the instrument, but also with music in general. I wish to extend my gratitude to the other members of my committee, especially Dr. Diana Hallman for her effort during the final process. My many thanks to Dr. Schuyler Robinson, who has been an inspiration to my learning, and Dr. Kevin Holm-Hudson and Dr. Erik Myrup, who were always willing to help and answer my questions. Finally, I would like to thank Dr. Alice Christ for her willingness to be part of this committee. Last but not least, it is more than a necessity for me to express my eternal gratitude to my husband Peter, to my family, and to my friends who helped me carry this challenge to the end. They truly have been the light on my path towards my goal. Copyright © Paula Maria Lima Galama 2013 iii TABLE OF CONTENTS Acknowledgements…………………………………………………………………. iii Table of Contents ………………………………………………………………….. iv List of Tables……………………………………………………………………….. vi List Figures…………………………………………………………………………. vii Part One - Reconsidering Brazilian Representation in Choros No. 5 and Bachianas Brasileiras No.4 for Piano by Heitor Villa-Lobos………………………………….. Chapter One: Introduction…………………………………………………………... 1 Chapter Two: Villa-Lobos’ Life and Work – a Brief Overview………………….. 14 The Early Years…………………………………………………………........ 15 His Youth and Journeys…………………………………………………........ 16 Villa-Lobos, the Composer…………………………………………………... 21 1920-1930 – Choros…………………………………………………………. 22 1930-1945 – The Educator and the Bachianas Brasileiras………………….. 25 The Last Years……………………………………………………………….. 29 Periods of Composition…………………………………………………......... 29 Chapter Three: Choros no. 5- Alma Brasileira (Brazilian Soul)................................ 31 Choros: An Introduction……………………………………………………... 31 Choros no. 5 – Alma Brasileira (Brazilian Soul) - Interpretive Aspects.......... 38 Rhythm, Harmony, and Melody……………………………………………… 40 Chapter Four: Bachianas Brasileiras no. 4 (Brazilian Bachianas no. 4)………….. 55 Bachianas: Introduction……………………………………………………… 55 Bachianas Brasileiras no. 4 for piano............................................................... 60 I – Prelúdio (Introdução – Introduction) Thematic Material – “The Musical Offering of Villa-Lobos.”…………. 60 II – Coral (Canto do Sertão) Imagination…………………………………………………………… 71 III – Ária (Cantiga) Brazilian Allusions: A Borrowed Tune and Related Images…………. 79 IV – Dança (Miudinho) Mood………………………………………………………………….. 89 iv Chapter Five: Conclusion………………………………………………………….. 100 Part Two – Program notes 103 Program I – Solo Piano Recital......................................................................... 103 Program II – Chamber Music Recital............................................................... 107 Program III – Solo Piano Recital...................................................................... 110 Program IV – Lecture-Recital………………………………………………... 114 Bibliography………………………………………………………………………… 115 Bibliography for Program Notes……………………………………………………. 121 Vita…………………………………………………………………………………. 122 v LIST OF TABLES Table 1. Main features of choro style………………………………………..
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