1 Title Page

An Overview of Almeida Prado's "Transtonal" System in his Cartas Celestes, First Six Volumes, for Piano Solo Item Type text; Electronic Dissertation Authors Peixoto Ferraz, Maria Helena Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 09/10/2021 13:05:12 Link to Item http://hdl.handle.net/10150/194305 AN OVERVIEW OF ALMEIDA PRADO'S "TRANSTONAL" SYSTEM IN HIS CARTAS CELESTES, FIRST SIX VOLUMES, FOR PIANO SOLO by Maria Helena Peixoto Ferraz _____________________________ Copyright © Maria Helena Peixoto Ferraz 2009 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2009 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Maria Helena Peixoto Ferraz entitled An Overview of Almeida Prado’s "Transtonal" System in his Cartas Celestes, First Six Volumes, for Piano Solo and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________________________ Date: 12 November 2009 Tannis Gibson _______________________________________________________________________ Date: 12 November 2009 Jay Rosenblatt _______________________________________________________________________ Date: 12 November 2009 Pamela Decker Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. ________________________________________________ Date: 12 November 2009 Document Director: Tannis Gibson 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Maria Helena Peixoto Ferraz 4 ACKNOWLEDGMENTS The present acknowledgment is a most sincere recognition of gratitude to everyone who helped me on the elaboration of this document. I would like to express my sincere gratitude to all of those who have made it possible for me to reach the completion of my doctoral degree. To my dearest parents Ruy and Maria Stella for their lifelong unconditional love, trust, support, and encouragement, and for assisting me on the collecting of musical scores and articles in Brazil, during my research process for the realization of this document. Also, to my beloved sister Maria Stella for her artistry, caring support and help in all phases of my research in Brazil for this document. I am deeply grateful to my beloved husband Richard for the elaboration of the artistic musical examples, for his invaluable assistance, steadfast love, patience, encouragement, strong support, and wonderful sense of humor. I have no words to express my gratitude and love. I was fortunate to have Professor Gibson, my advisor, Dr. Rosenblatt and Dr. Decker in my committee, offering me an exemplary guidance and support. I would like to show my gratitude and thankfulness to Professor Gibson for her insights, editorial observations and suggestions. My special thanks to the great Brazilian composer, Almeida Prado, for making many scores available and for the relevant information he provided so generously. Also to Helenice Audi for helping me with the musical scores and manuscripts of Almeida Prado. My appreciation to Marian Golf and Dirk Fleisher of Tonos Music for the permission to use musical extracts from Cartas Celestes in this document. 5 DEDICATION I dedicate this document to my most loving and dearest parents Ruy and Maria Stella for their eternal encouragement, and to my beloved husband Richard with all my love and gratitude. 6 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................................. 8 ABSTRACT ................................................................................................................. 12 CHAPTER ONE INTRODUCTION…………........................................................... 13 … A. STATEMENT OF PURPOSE AND SCOPE OF STUDY............................. 13 B. REVIEW OF LITERATURE........................................................................ 15 CHAPTER TWO A BRIEF OVERVIEW OF BRAZILIAN MUSIC IN THE TWENTIETH CENTURY ............................................................. 19 CHAPTER THREE A BIOGRAPHY OF ALMEIDA PRADO HIS FIVE COMPOSITIONAL PHASES AND INFLUENCES.. 26 A. A BIOGRAPHY .......................................................................................... 26 B. ALMEIDA PRADO' S FIVE COMPOSITIONAL PHASES AND INFLUENCES .............................................................................................. 31 1. "NATIONALISTIC PHASE" ................................................................... 31 2. "EXPERIMENTAL ATONAL PHASE"................................................... 32 3. "UNIVERSAL PHASE 'TRANSTONAL'"................................................ 34 4. "ECOLOGICAL PHASE" ........................................................................ 35 5. "FREE TONAL PHASE".......................................................................... 36 CHAPTER FOUR "TRANSTONALISM" ................................................................. 38 A. "TRANSTONALISM:" A SYSTEM CREATED BY ALMEIDA PRADO... 38 B. "THE ORGANIZED SYSTEM OF RESONANCES" CREATED BY ALMEIDA PRADO ...................................................................................... 47 C. THE TWENTY-FOUR CHORDS ............................................................... 59 7 TABLE OF CONTENTS – Continued CHAPTER FIVE CARTAS CELESTES ...................................................................... 78 A. CARTAS CELESTES: VOLUMES I-VI......................................................... 78 B. CARTAS CELESTES VOLUME I ................................................................. 94 C. DESCRIPTION OF THE PÓRTICO DO CREPÚSCULO, THE CONSTELLATIONS HÉRCULES, LYRA AND SCORPIO, AND THE PÓRTICO DA AURORA, FROM CARTAS CELESTES VOLUME I.......... 99 APPENDIX A PERMISSION................................................................................. 113 APPENDIX B GENERAL CATALOGUE OF PIANO SOLO WORKS BY ALMEIDA PRADO........................................................................ 117 REFERENCES ........................................................................................................... 129 8 LIST OF MUSICAL EXAMPLES Example 1. Ascending Harmonic Series....................................................................... 38 Example 2. Constellation Hércules (mm. 26-28) – Cartas Celestes Volume I............... 42 Example 3. Pórtico do Crepúsculo (Portico of the Twilight) (modules 1-4) Cartas Celestes Volume I ........................................................................... 42 Example 4. Via Láctea (Milky Way) (mm. 28-32) - Cartas Celestes Volume I.............. 52 Example 5. Descending Harmonic Series ...................................................................... 53 Example 6. Pequena Nuvem de Magalhães (Small Cloud of Magellan) (mm. 1-3) Cartas Celestes Volume II .......................................................................... 53 Example 7. Via-Láctea (mm.23-26) - Cartas Celestes Volume I ................................... 54 Example 8. Via-Láctea (first section from m. 27) - Cartas Celestes Volume I .............. 54 Example 9. Grande Nuvem de Magalhães (Large Cloud of Magellan) (m. 1) Cartas Celestes Volume II .......................................................................... 55 Example 10.Via-Láctea re-exposition (mm. 6-12) - Cartas Celestes Volume I .............. 56 Example 11. Buraco da fechadura (the Keyhole) (mm.1-2) Cartas Celestes Volume IV....................................................................... 56 Example 12. Nebulosa (Nebula) NCG 696095 (m.1) Cartas Celestes Volume I.......................................................................... 56 Example 13. Scorpio Constellation (mm. 1-9) - Cartas Celestes Volume I .................... 58 Example 14. Via-Láctea (m. 16) - Cartas Celestes Volume I......................................... 58 Example 15. Chord Alpha α.......................................................................................... 59 Example 16. Chord Beta β ............................................................................................ 60 Example 17. Chord Gamma γ........................................................................................ 61 Example 18. Chord Delta δ ........................................................................................... 62 9 LIST OF MUSICAL EXAMPLES – Continued Example 19. Chord Epsilon

Load more