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Sinfonia Da Alvorada D'antonio Carlos Jobim

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Université de Montréal Brasília – Sinfonia da Alvorada d’Antonio Carlos Jobim Enjeux esthétique et idéologique d’une commande de l’état brésilien par Paulo Vitor de Oliveira Bottas M.A. Musicologie Faculté de Musique de l’Université de Montréal Mémoire présenté en vue de l’obtention du grade de maître en Musique option Musicologie Mai, 2017 © Paulo Vitor de Olveira Bottas, 2017 Ce mémoire est dédié à ma famille. À Lidia et Louis, pour tout l'amour que vous m’avez offert et qui a soutenu ce travail. TABLE DES MATIÈRES REMERCIEMENTS PAR ORDRE AFFECTIF I RÉSUMÉ II ABSTRACT IV RESUMO VI INTRODUCTION 1 CHAPITRE I 12 1 ÉLÉMENTS BIOGRAPHIQUES 12 1.1 L’ENFANCE ET LA MUSIQUE EN MILIEU FAMILIAL 13 1.2 L’ADOLESCENCE ET L’ÉDUCATION MUSICALE 17 1.3 L’ÂGE ADULTE ET LA CARRIÈRE PROFESSIONNELLE 22 1.4 ORFEU DA CONCEIÇÃO, UNE ŒUVRE DÉCISIVE DANS LA CARRIÈRE D’ANTONIO CARLOS JOBIM 29 CHAPITRE II 34 2 À LA QUÊTE DE L’IDENTITÉ MUSICALE BRÉSILIENNE 34 2.1 LA QUESTION NATIONALISTE DERRIÈRE LA CRITIQUE À ANTONIO CARLOS JOBIM 35 2.2 MÁRIO DE ANDRADE, LES PRINCIPES ESTHÉTIQUES DU MODERNISME BRÉSILIEN ET SON INFLUENCE SUR JOBIM 39 2.3 VILLA-LOBOS ET JOBIM, LA PERSONNIFICATION DU COMPOSITEUR MODERNISTE BRÉSILIEN 42 CHAPITRE III 50 3 MUSIQUE ET POLITIQUE 50 3.1 POURQUOI JOBIM ET NON VILLA-LOBOS? 51 3.2 VILLA-LOBOS, UN BRÉSILIEN À PARIS 56 3.3 CONVERGENCE ENTRE LA MUSIQUE DE VILLA-LOBOS ET LA POLITIQUE DE GETÚLIO VARGAS 59 3.4 JUSCELINO KUBITSCHEK : LE PRÉSIDENT BOSSA NOVA ET L’ÉVEIL D’UNE NATION 64 CHAPITRE IV 69 4 LA NOUVELLE CAPITALE ET LA COMPOSITION DE LA SYMPHONIE 69 i 4.1 BRASILIA, LA CONSTRUCTION DE LA NOUVELLE CAPITALE ET LA COMMANDE DE LA SYMPHONIE 70 4.2 BRASILIA – SINFONIA DA ALVORADA, LA COMMANDE DE L’ŒUVRE 74 4.3 L’UTOPIE DE L’ERE JK DANS LE RECIT DU VOYAGE A BRASILIA 80 4.4 LA PREMIERE QUI N’EUT JAMAIS LIEU ET LA FIN DE L’ERE JK 85 CHAPITRE V 92 5 L’ANALYSE DE BRASÍLIA – SINFONIA DA ALVORADA 92 5.1 LES PRINCIPES DE L’ANALYSE DE LA SYMPHONIE 93 5.2 LE PREMIER MOUVEMENT, « O PLANALTO DESERTO » 95 5.3 LE DEUXIÈME MOUVEMENT, « O HOMEM » 102 5.4 LE TROISIÈME MOUVEMENT, « A CHEGADA DOS CANDANGOS » 117 5.5 LE QUATRIÈME MOUVEMENT, « O TRABALHO E A CONSTRUÇÃO » 128 5.6 LE CINQUIÈME MOUVEMENT, « CORAL » 164 CONCLUSION 176 BIBLIOGRAPHIE 182 ii LISTE DES EXEMPLES MUSICAUX EXEMPLE 1 : JOBIM, SINFONIA DA ALVORADA, I, « O PLANALTO DESERTO », MES. 1-8. ........................................ 95 EXEMPLE 2 : JOBIM, SINFONIA DA ALVORADA, I, « O PLANALTO DESERTO », MES. 9-19. ...................................... 96 EXEMPLE 3 : JOBIM, SINFONIA DA ALVORADA, I, « O PLANALTO DESERTO », MES. 19-43. .................................... 97 EXEMPLE 4 : JOBIM, SINFONIA DA ALVORADA, I, « O PLANALTO DESERTO », MES. 44-48. .................................... 98 EXEMPLE 5 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MES. 1-3. .................................................... 103 EXEMPLE 6 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MES. 6-11. ................................................. 103 EXEMPLE 7 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », PREMIER MOTIF : MES. 1-2, DEUXIÈME MOTIF : MES. 7-9. ................................................................. 104 EXEMPLE 8 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MES. 5-6. .................................................... 104 EXEMPLE 9 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MES. 10-13. ................................................ 105 EXEMPLE 10 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MES. 10-19. .............................................. 106 EXEMPLE 11 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MES. 13-18. .............................................. 107 EXEMPLE 12 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM » , REPETITION EN OSTINATO DE LA CELLULE RYTHMIQUE. ......................................................................... 107 EXEMPLE 13 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MOTIFS MÉLODIQUES « LA NATURE, CALME ET LIBRE DE DÉSIRS ». ............................................................................................................................. 108 EXEMPLE 14 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MES. 20-33. .............................................. 109 EXEMPLE 15 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MES. 34-42. .............................................. 110 EXEMPLE 16 : VILLA-LOBOS, BACHIANAS BRASILEIRAS N° 1, « INTRODUCTION (EMBOLADA) », MES. 1-14. ............ 111 EXEMPLE 17 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MES. 55-62. 113 EXEMPLE 18 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MES. 62-73. .............................................. 114 EXEMPLE 19 : JOBIM, SINFONIA DA ALVORADA, II, « O HOMEM », MES. 74-82. .............................................. 115 EXEMPLE 20 : CELLULE RYTHMIQUE DU BAIÃO. .......................................................................................... 117 EXEMPLE 21 : LUIZ GONZAGA & HUMBERTO TEIXEIRA, ASA BRANCA. ............................................................ 119 EXEMPLE 22 : JOBIM, SINFONIA DA ALVORADA, III, « A CHEGADA DOS CANDANGOS », MES. 1-12. ....................... 120 EXEMPLE 23 : JOBIM, SINFONIA DA ALVORADA, III, « A CHEGADA DOS CANDANGOS », MES. 13-24. ..................... 121 EXEMPLE 24 : JOBIM, SINFONIA DA ALVORADA, III, « A CHEGADA DOS CANDANGOS », MES. 25-34. ..................... 122 EXEMPLE 25 : JOBIM, SINFONIA DA ALVORADA, III, « A CHEGADA DOS CANDANGOS », MES. 35-40. ..................... 122 EXEMPLE 26 : GAMME ACOUSTIQUE EN RÉ. .............................................................................................. 123 EXEMPLE 27 : JOBIM, SINFONIA DA ALVORADA, III, « A CHEGADA DOS CANDANGOS », MES. 41-54. ..................... 124 EXEMPLE 28 : TROIS MOTIFS MIXOLIDIENS DU MOVEMENT A CHEGADA DOS CANDANGOS. ................................... 124 EXEMPLE 29 : JOBIM, SINFONIA DA ALVORADA, III, « A CHEGADA DOS CANDANGOS », MES. 71-78. ..................... 125 EXEMPLE 30 : JOBIM, SINFONIA DA ALVORADA, III, « A CHEGADA DOS CANDANGOS », MES. 79-86. ..................... 126 EXEMPLE 31 : JOBIM, SINFONIA DA ALVORADA, III, « A CHEGADA DOS CANDANGOS », MES. 87-94. ..................... 126 EXEMPLE 32 : JOBIM, SINFONIA DA ALVORADA, III, « A CHEGADA DOS CANDANGOS », MES. 95-102. ................... 127 EXEMPLE 33 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 1-30. ..................... 131 EXEMPLE 34 : GAMME PHYGIENNE EN DO. ............................................................................................... 132 EXEMPLE 35 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 1-30. ..................... 133 EXEMPLE 36 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 1-30. ..................... 135 EXEMPLE 37 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 31-38. ................... 137 iii EXEMPLE 38 : COMPARAISON ENTRE LE DÉBUT DE LA MÉLODIE DU CHANT GRÉGORIEN DIES IRÆ, DIES ILLA ET LE THÈME DU PALÁCIO DA ALVORADA. .............................................................................................................. 137 EXEMPLE 39 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 31-42. ................... 138 EXEMPLE 40 : MOTIF DE O PLANALTO DESERTO PRÉSENT DANS LE QUATRIÈME MOUVEMENT, O TRABALHO E A CONSTRUÇÃO. ........................................................................................................................... 138 EXEMPLE 41 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 39-42. .................... 140 EXEMPLE 42 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 43-49. ................... 141 EXEMPLE 43 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 50-62. .................... 142 EXEMPLE 44 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 57-62. ................... 143 EXEMPLE 45 : STRAVINSKI, LE SACRE DU PRINTEMPS, II, « DANSE DES ADOLESCENTES », MES. 1-7. ....................... 144 EXEMPLE 46 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 63-74. ................... 145 EXEMPLE 47 : DIFFÉRENTES TONALITÉS DU THEME DU PALÁCIO DA ALVORADA.................................................. 145 EXEMPLE 48 : DIFFÉRENTES TONALITÉS DU THEME DU PALÁCIO DA ALVORADA.................................................. 146 EXEMPLE 49 : SUPERPOSITION DU THEME DU PALÁCIO DA ALVORADA AU THÈME DE O PLANALTO DESERTO. ............ 147 EXEMPLE 50 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 57-62. ................... 148 EXEMPLE 51 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 87-90. ................... 148 EXEMPLE 52 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 91-99. ................... 149 EXEMPLE 53 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 100-122. ................ 150 EXEMPLE 54 : VILLA-LOBOS, CHORO N° 10, I, « RASGA O CORAÇÃO », NUMÉRO DE RÉPÉTITION 6. ....................... 151 EXEMPLE 55 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 123-131. ................ 153 EXEMPLE 56 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 132-155. ................ 154 EXEMPLE 57 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 156-165. ................ 155 EXEMPLE 58 : JOBIM, SINFONIA DA ALVORADA, IV, « O TRABALHO E A CONSTRUÇÃO », MES. 167-177. ................ 156 EXEMPLE 60 : JOBIM, SINFONIA DA
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    id20842218 pdfMachine by Broadgun Software - a great PDF writer! - a great PDF creator! - http://www.pdfmachine.com http://www.broadgun.com UNIVERSIDADE PRESBITERIANA MACKENZIE ÁVIO RÉGIS SUDÁRIO CUNHA FL CLAUS OGERMAN – UMA ANÁLISE DO CONCERTO PARA PIANO E ORQUESTRA (1993): ÚSICA E HISTÓRIA CU M LTURAL. ÃO PAULO S 2013 ÁVIO RÉGIS SUDÁRIO CUNHA FL CLAUS OGERMAN – UMA ANÁLISE DO CONCERTO PARA PIANO E ORQUESTRA (1993): ÚSICA E HISTÓRIA CUL M TURAL. Dissertação apresentada ao programa de Pós-Graduação da Universidade Presbiteriana Mackenzie como requisito parcial à obtenção do título de Mestre em Educação, Arte e História da Cultura. ORIENTADOR: Prof. Dr. Arnaldo Daraya Contier ÃO PAULO S 2013 ávio Régis Sudário C972c Cunha, Fl . álise do concerto para piano e Claus Ogerman: uma an úsica e história cultural ávio Régis orquestra (1993) : m / Fl á Sud rio Cunha - 2013. 301 f. : il. ; 30 cm. ção ção, Arte e ória Disserta (Mestrado em Educa Hist da ão Paulo, Cultura) - Universidade Presbiteriana Mackenzie, S 2013. ências b á Refer ibliogr ficas: f. 185-189. FLÁVIO RÉGIS SUDÁRIO CUNHA CLAUS OGERMAN - UMA ANÁLISE DO CONCERTO PARA PIANO E ORQUESTRA (1993): MÚSICA E HISTÓRIA CULTURAL. Dissertação apresentada ao programa de Pós-Graduação da Universidade Presbiteriana Mackenzie como requisito parcial à obtenção do título de Mestre em Educação, Arte e História da Cultura. Aprovado por: BANCA EXAMINADORA ______________________________________________________________________ ña – Profa. Dra. Maria de los Dolores Jimenez Pe Presidente da Banca Universidade Presbiteriana Mackenzie ______________________________________________________________________ – Profa. Dra. Petra Sanchez Sanchez Examinador interno Universidade Presbiteriana Mackenzie ______________________________________________________________________ ônio – Prof. Dr. Celso Ant Mojola Examinador externo Faculdade Cantareira À minha esposa, pelo apoio e incentivo ãos, constantes; aos meus pais e irm ça na realização deste pela confian trabalho.
  • Milhauds Danssvit På Marimba

    Milhauds Danssvit På Marimba

    CG1009 Examensarbete, kandidat, klassisk musik, 15 hp Kandidatprogram, musiker, klassisk musik 2021 Institutionen för klassisk musik (KK) Handledare: David Thyrén Examinator: Peter Berlind Carlson Andreas Nyström Milhauds danssvit på marimba Interpretation av Rainer Kuismas arrangemang av Saudades do Brasil Till dokumentationen hör följande inspelning: xxx Sammanfattning I detta konstnärliga examensarbete undersöks olika interpretationer av Darius Milhauds Saudades do Brasil i arrangemang för marimba och piano av den finländske slagverkaren Rainer Kuisma (f.1931). Som bakgrund presenteras tonsättaren Darius Milhaud (1892-1974) genom en kortare biografi över hans liv och komponerande. Särskilt intressant är Milhauds inspiration från resor till Brasilien men också hans säregna sätt att komponera polytonalt. Därefter följer en kortfattad historik om arrangören Rainer Kuisma och om slagverksinstrumentet marimba. Syftet med studien var att interpretera Darius Milhauds Saudades do Brasil, i arrangemang av Kuisma. Studiens resultat påvisar att genom tillämpning av olika instuderingsmetoder kan en musiker hitta det optimala sättet att interpretera musik skriven för marimba. Resultatet visar att en enskild interpret med hjälp av dessa metoder får ett starkare och mångsidigare system för att instudera och framföra musik på marimba. Att spela in sig själv ger en övertygelse av vad som fungerar vad gäller interpretation, klubbval och frasering. Det här skulle kunna vara en framkomliga väg för att också interpretera musik skriven för andra instrument och inte bara för marimba. Rainer Kuisma undervisade en tid på Kungl. Musikhögskolan i Stockholm men är kanske framförallt känd som slagverkssolist och kompositör med utgångspunkt i symfoniorkestern i Norrköping där han verkade som stämledare för timpani. Rainer Kuisma fyllde 90 år 2021 och slagverksklassen på KMH gav i samband med detta en hyllningskonsert med mycket av Kuismas musik.
  • Boston Symphony Orchestra Concert Programs, Season 128, 2008-2009

    Boston Symphony Orchestra Concert Programs, Season 128, 2008-2009

    BOSTON SYMPHONY ORCHESTRA James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 128th Season, 2008-2009 COMMUNITY CONCERT IX Sunday, March 29, at 3, at Granoff Music Center, Tufts University, Medford CHAMBER TEA V Friday, April 3, at 2:30 COMMUNITY CONCERT X Sunday, April 5, at 3, at Hernandez Cultural Center, Boston The free Community Concerts on March 29 and April 5 are generously supported by The Lowell Institute. CYNTHIA MEYERS, flute and piccolo ROBERT SHEENA, oboe and English horn THOMAS MARTIN, clarinet SUZANNE NELSEN, bassoon JONATHAN MENKIS, horn TIMOTHY GENIS, percussion (Piazzolla; Toussaint; D'Rivera "Afro") PIAZZOLLA Libertango (arr. Jeff Scott) MILHAUD "Sorocaba" and "Ipanema" from Saudades do Brasil, Opus 67 (arr. David Bussick) PIAZZOLLA Oblivion (arr. Jeff Scott) TOUSSAINT Mambo D'RIVERA Aires Tropicales 1. Alborada 2. Son 3. Wapango (arr. Jeff Scott /Tom Martin) 4. Habanera 5. Vals Venezolano 6. Afro 7. Contradanza Week 22 Astor Piazzolla (1921-92) Libertango and Oblivion Born in Mar del Plata, Argentina, Astor Piazzolla moved with his family to New York City in 1925, where (with one brief return to Argentina in 1930) they lived until 1936. He took up the bandoneon, the central instrument in the Ar- gentine tango, and also studied classical piano. Upon his return to Argentina he began to perform with tango orchestras, but also studied composition with the great Alberto Ginastera. He formed his first orchestra in 1946 but disbanded it as his music became more experimental. Piazzolla's music of the time shows the influence of Bartok and Stravinsky, but with some Argentine elements like the inclusion of two bandoneons in the orchestral work Buenos Aires.
  • Branding Brussels Musically: Cosmopolitanism and Nationalism in the Interwar Years

    Branding Brussels Musically: Cosmopolitanism and Nationalism in the Interwar Years

    BRANDING BRUSSELS MUSICALLY: COSMOPOLITANISM AND NATIONALISM IN THE INTERWAR YEARS Catherine A. Hughes A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2015 Approved by: Annegret Fauser Mark Evan Bonds Valérie Dufour John L. Nádas Chérie Rivers Ndaliko © 2015 Catherine A. Hughes ALL RIGHTS RESERVED ii ABSTRACT Catherine A. Hughes: Branding Brussels Musically: Cosmopolitanism and Nationalism in the Interwar Years (Under the direction of Annegret Fauser) In Belgium, constructions of musical life in Brussels between the World Wars varied widely: some viewed the city as a major musical center, and others framed the city as a peripheral space to its larger neighbors. Both views, however, based the city’s identity on an intense interest in new foreign music, with works by Belgian composers taking a secondary importance. This modern and cosmopolitan concept of cultural achievement offered an alternative to the more traditional model of national identity as being built solely on creations by native artists sharing local traditions. Such a model eluded a country with competing ethnic groups: the Francophone Walloons in the south and the Flemish in the north. Openness to a wide variety of music became a hallmark of the capital’s cultural identity. As a result, the forces of Belgian cultural identity, patriotism, internationalism, interest in foreign culture, and conflicting views of modern music complicated the construction of Belgian cultural identity through music. By focusing on the work of the four central people in the network of organizers, patrons, and performers that sustained the art music culture in the Belgian capital, this dissertation challenges assumptions about construction of musical culture.