DOCSLIB.ORG

The Brazilian Art Song and the Non-Brazilian Portuguese Singer: A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Brazilian Art Song and the Non-Brazilian Portuguese Singer: A THE BRAZILIAN ART SONG AND THE NON-BRAZILIAN PORTUGUESE SINGER: A PERFORMANCE GUIDE TO NINE SONGS BY ALBERTO NEPOMUCENO Rawlianne Riggs, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2019 APPROVED: Jeffrey Snider, Major Professor Carol Wilson, Committee Member Stephen Morscheck, Committee Member Molly Fillmore, Chair of Department of Vocal Studies Felix Olschofka, Interim Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Riggs, Rawlianne. The Brazilian Art Song and the Non-Brazilian Portuguese Singer: A Performance Guide to Nine Songs by Alberto Nepomuceno. Doctor of Musical Arts (Performance), May 2019, 131 pp., 9 musical examples, 2 appendices, bibliography, 67 titles. Alberto Nepomuceno (1864-1920) is considered to be the father of the Brazilian art song. With a total of seventy songs, Nepomuceno revolutionized and established a new path to the Brazilian art song. His songs were innovative because they: (1) incorporated folk elements in his songs, (2) introduced Portuguese as a language acceptable in bel canto style and (3) established Brazilian songs in the tradition of the European vanguard. His approach influenced several composers including his young student Heitor Villa-Lobos (1887-1959), one of the most significant Latin American composers. The purpose of this research is to inform singers and teachers about one of Brazil's most significant art song composers, and to provide the necessary tools--Brazilian Portuguese diction guide, IPA and poem translations of the selected songs--for effective and accurate performances and interpretations. Copyright 2019 by Rawlianne Riggs ii ACKNOWLEDGMENTS Thanks to God, The Creator of music and the source of all life and inspiration. Thanks to mom and dad, Mirian and Elton, for the constant support and encouragement, for all the hours spent at my recitals, and more importantly, for teaching me faith in Jesus Christ as the foundation for a fulfilled life. To you I dedicate this work. Thanks to my children Lanne, Jair Jr. and Lianne, for your love, patience and support throughout this entire process. I could not have done it without you. You are my joy, my life. Thanks to my wonderful committee, Dr. Jeffrey Snider, Dr. Carol Wilson and Dr. Stephen Morscheck. This work would not have been possible without your guidance. Thanks to Dr. Dante Pignatari for sharing with me your dissertation, which was the inspiration for this work. Thanks to Dr. Marcos Krieger for your insights in Brazilian Portuguese and for checking my IPA transcriptions. Thanks to my church, Alliance United Methodist Church, for your love, support and encouragement. You are a blessing in my life. iii TABLE OF CONTENTS Page ACKNOWLEDGMENTS ............................................................................................................. iii LIST OF MUSICAL EXAMPLES ................................................................................................ vi CHAPTER 1. INTRODUCTION ................................................................................................... 1 CHAPTER 2. ALBERTO NEPOMUCENO: LIFE AND CAREER ............................................. 9 CHAPTER 3. SELECTED SONGS: POETS, POEMS, AND TRANSLATIONS ...................... 30 Olavo Bilac ....................................................................................................................... 31 Juvenal Galeno .................................................................................................................. 32 Luis Guimarães Filho ........................................................................................................ 33 Osório Duque-Estrada ....................................................................................................... 35 Carlos Magalhães de Azeredo .......................................................................................... 37 Branca de Gonta Colaço ................................................................................................... 38 Frota Pessoa ...................................................................................................................... 39 Hermes Fontes .................................................................................................................. 40 CHAPTER 4. BRAZILIAN PORTUGUESE FOR LYRIC SINGERS: PRONUNCIATION AND DICTION ...................................................................................................................................... 42 Brazilian Portuguese Nasal Vowels .................................................................................. 47 Identifying Brazilian Portuguese Nasalized Vowels ............................................ 47 Nasal Vowel Examples ......................................................................................... 48 Brazilian Portuguese Nasal Vowels vs. French Nasal Vowels ............................. 49 Brazilian Portuguese Sounds ............................................................................................ 51 The Vowel “A” ..................................................................................................... 52 The Vowel “E” ...................................................................................................... 54 The Vowel “I” ....................................................................................................... 56 The Vowel “O” ..................................................................................................... 57 The Vowel “U” ..................................................................................................... 58 Consonants ............................................................................................................ 59 CHAPTER 5. SELECTED SONGS : INTERPRETATION AND DICTION ............................. 64 Desterro: 1894, Text by Olavo Bilac ............................................................................... 64 iv Medroso de Amor, Op. 17, No. 1: 1894, Text by Juvenal Galeno .................................... 69 Madrigal, Op. 17, No. 2: 1894, Text by Luís Guimarães Filho ....................................... 75 Turquesa, Op. 26, No. 1: 1901, Text by Luís Guimarães Filho ....................................... 80 Trovas, Op. 29, No. 1: 1901, Text by Osório Duque Estrada ........................................... 85 Trovas II, Op. 29, No. 2: 1901, Text by Magalhães Azeredo ........................................... 91 Cantigas: 1902, Text by Branca de Gonta Colaço ........................................................... 96 Coração Indeciso, Op. 30, No. 1: 1903, Text by Frota Pessoa ...................................... 101 Luz e névoa: 1915, Text by Hermes Fontes .................................................................... 107 CHAPTER 6. CONCLUSION.................................................................................................... 112 APPENDIX A. LIST OF SONGS .............................................................................................. 113 APPENDIX B. CHRONOLOGY ............................................................................................... 122 BIBLIOGRAPHY ....................................................................................................................... 128 v LIST OF MUSICAL EXAMPLES Page Example 1: Alberto Nepomuceno, Desterro, mm. 18-21 ............................................................. 66 Example 2: Alberto Nepomuceno, Medroso de Amor, op. 17, no. 1, mm. 8-15 .......................... 71 Example 3: Alberto Nepomuceno, Madrigal, op. 17, no. 2, mm. 5-13 ........................................ 76 Example 4: Alberto Nepomuceno, Turquesa, op. 26 no. 1, mm. 30-37 ....................................... 81 Example 5: Alberto Nepomuceno, Trovas I, op. 29, no. 1, mm. 19-27 ........................................ 86 Example 6: Alberto Nepomuceno, Trovas II, op. 29, no. 2, mm. 30-36 ...................................... 92 Example 7: Alberto Nepomuceno, Cantigas, mm. 1-8 ................................................................. 97 Example 8: Alberto Nepomuceno, Coração indeciso, op. 30, no. 1, mm. 5-12 ......................... 102 Example 9: Alberto Nepomuceno, Luz e névoa, mm. 29-39 ...................................................... 108 vi CHAPTER 1 INTRODUCTION Alberto Nepomuceno (1864-1920) is considered to be the Father of the Brazilian art song.1 The quote attributed to him, “People who do not sing in their own language have no homeland,”2 (translation by the author)3 reflects the importance that the art song genre had to his musical output. With a total of seventy songs, Nepomuceno revolutionized and established a new path to the Brazilian art song. His approach influenced several composers including his young student Heitor Villa-Lobos (1887-1959), who is considered to be one of the most significant Latin American composers. His Bachianas Brasileiras no. 5, for soprano and eight cellos is performed worldwide, yet his teacher’s vocal music and innovations are of relative recognition. Villa-Lobos stated, “I would not have written my songs without Nepomuceno.”4 The purpose of this research is to inform singers and teachers about one of Brazil’s most significant art song composers, and to provide the necessary tools—poem translations, IPA, diction suggestions—for effective and accurate performances and interpretations.
Load more

Recommended publications
  • Canções E Modinhas: a Lecture Recital of Brazilian Art Song Repertoire Marcía Porter, Soprano and Lynn Kompass, Piano
    Canções e modinhas: A lecture recital of Brazilian art song repertoire Marcía Porter, soprano and Lynn Kompass, piano As the wealth of possibilities continues to expand for students to study the vocal music and cultures of other countries, it has become increasingly important for voice teachers and coaches to augment their knowledge of repertoire from these various other non-traditional classical music cultures. I first became interested in Brazilian art song repertoire while pursuing my doctorate at the University of Michigan. One of my degree recitals included Ernani Braga’s Cinco canções nordestinas do folclore brasileiro (Five songs of northeastern Brazilian folklore), a group of songs based on Afro-Brazilian folk melodies and themes. Since 2002, I have been studying and researching classical Brazilian song literature and have programmed the music of Brazilian composers on nearly every recital since my days at the University of Michigan; several recitals have been entirely of Brazilian music. My love for the music and culture resulted in my first trip to Brazil in 2003. I have traveled there since then, most recently as a Fulbright Scholar and Visiting Professor at the Universidade de São Paulo. There is an abundance of Brazilian art song repertoire generally unknown in the United States. The music reflects the influence of several cultures, among them African, European, and Amerindian. A recorded history of Brazil’s rich music tradition can be traced back to the sixteenth-century colonial period. However, prior to colonization, the Amerindians who populated Brazil had their own tradition, which included music used in rituals and in other aspects of life.
    [Show full text]
  • Histories of Nineteenth-Century Brazilian
    Perspective Actualité en histoire de l’art 2 | 2013 Le Brésil Histories of nineteenth-century Brazilian art: a critical review of bibliography, 2000-2012 Histoires de l’art brésilien du XIXe siècle : un bilan critique de la bibliographie, 2000-2012 Histórias da arte brasileira do século XIX: uma revisão critica da bibliografia Geschichten der brasilianischen Kunst des 19. Jahrhunderts : eine kritische Bilanz der Bibliographie, 2000-2012 Storie dell’arte brasiliana dell’Ottocento: un bilancio critico della bibliografia, 2000-2012 Historias del arte brasileño del siglo XIX: un balance crítico de la bibliografía, 2000-2012 Rafael Cardoso Electronic version URL: http://journals.openedition.org/perspective/3891 DOI: 10.4000/perspective.3891 ISSN: 2269-7721 Publisher Institut national d'histoire de l'art Printed version Date of publication: 31 December 2013 Number of pages: 308-324 ISSN: 1777-7852 Electronic reference Rafael Cardoso, « Histories of nineteenth-century Brazilian art: a critical review of bibliography, 2000-2012 », Perspective [Online], 2 | 2013, Online since 30 June 2015, connection on 01 October 2020. URL : http://journals.openedition.org/perspective/3891 ; DOI : https://doi.org/10.4000/ perspective.3891 Histories of nineteenth-century Brazilian art: a critical review of bibliography, 2000-2012 Rafael Cardoso The history of nineteenth-century Brazilian art has undergone major changes over the first years of the twenty-first century. It would be no exaggeration to say that more has been done in the past twelve years than in the entire preceding century, at least in terms of a scholarly approach to the subject. A statement so sweeping needs to be qualified, of course, and it is the aim of the present text to do just that.
    [Show full text]
  • Sumário Executivo
    SUMÁRIO EXECUTIVO 1. Apresentação O Ramal do Agreste Pernambucano é um empreendimento de infra-estrutura hídrica, estratégico pela sua inserção na Região do Agreste Pernambucano, composto por um sistema de obras hidráulicas – canais, estações de bombeamento de água, pequenos reservatórios intermediários, uma linha de transmissão e uma subestação para suprimento elétrico do projeto, que capta água no Eixo Leste do Projeto de Integração do rio São Francisco com Bacias do Nordeste Setentrional (PISF), originária da barragem de Itaparica, no Estado de Pernambuco. O produto final do empreendimento – água bruta – a ser distribuído através do um sistema de adutoras a ser construído, após tratamento, extrapola os municípios de intervenção direta da obra, atingindo municípios das bacias hidrográficas por ele beneficiadas indiretamente – Ipojuca, Moxotó, Ipanema, Goiana; Capibaribe; Sirinhaém; Mundaú; Una; Paraíba; e Traipu. Os estudos que embasaram a definição do empreendimento compreenderam três etapas de análise: os Estudos de Inserção Regional, que avaliaram a disponibilidade e a demanda hídrica do Agreste Pernambucano, os Estudos de Viabilidade Técnico- Econômica, que avaliaram as alternativas para o anteprojeto de engenharia e definiram a melhor opção de traçado, concepção das obras e seus custos, além da análise da viabilidade econômica e ambiental; e o Projeto Básico do Empreendimento, com o detalhamento do projeto de engenharia, com aprimoramento da alternativa selecionada nos Estudos de Viabilidade. O presente documento constitui o Estudo
    [Show full text]
  • Brazil Alberta White and Susan Holden
    Elementary Level Listening Worksheet Brazil Alberta White and Susan Holden 1 Listen to “Welcome To Brazil” (from “Brazil …” to “… something new about.”). Match the words you hear together. The first one is an example. Check your answers on p.6 of the book or in the answer key. 1 World a artists 2 Olympic b cities 3 Amazon c country 4 Amazon d CupTM 5 modern e Games® 6 natural f industries 7 big g Rainforest 8 exciting h regions 9 rich i resources 10 different j River 11 big k tradition 2 Listen to the first part of Chapter 1 (from “Brazil is in South America …” to “ … cold in the winter.”). Answer the questions. The first one is an example. Check your answers on pp.8–9 of the book or in the answer key. 1 Where is Brazil? In South America, next to Argentina, Bolivia, Colombia, French Guiana, Guyana, Paraguay, Peru, Suriname, Uruguay, and Venezuela 2 How many people live there? ____________________________________________________________________________________________ 3 What language do they speak? ____________________________________________________________________________________________ 4 How big is Brazil? ____________________________________________________________________________________________ 5 What is the highest mountain? ____________________________________________________________________________________________ 6 How long is Brazil's Atlantic Coast? ____________________________________________________________________________________________ 7 Which part of Brazil is hot all year? ____________________________________________________________________________________________ 8 What is the climate like in the south? ____________________________________________________________________________________________ ThisMacmillan page has been Readers downloaded from www.macmillanenglish.com. It is photocopiable, but all copies must be completeBrazil pages. 1 © Macmillan Publishers Limited 2014. This page has been downloaded from www.macmillanenglish.com. It is photocopiable, but all copies must be complete pages. © Macmillan Publishers Limited 2013.
    [Show full text]
  • Research, Society and Development, V. 9, N. 9, E637997737, 2020 (CC
    Research, Society and Development, v. 9, n. 9, e637997737, 2020 (CC BY 4.0) | ISSN 2525-3409 | DOI: http://dx.doi.org/10.33448/rsd-v9i9.7737 Análise de quantificação de recorrência de séries temporais mensais de chuva em Pernambuco, Brasil Recurrence quantification analysis of monthly rainfall time series in Pernambuco, Brazil Análisis de cuantificación de recurrencia de series temporales de lluvia mensual en Pernambuco, Brasil Received: 19/08/2020 | Reviewed: 29/08/2020 | Accept: 31/08/2020 | Published: 01/09/2020 Leika Irabele Tenório de Santana ORCID: https://orcid.org/0000-0002-5516-5887 Universidade Federal Rural de Pernambuco, Brasil E-mail: [email protected] Antonio Samuel Alves da Silva ORCID: https://orcid.org/0000-0002-8759-0036 Universidade Federal Rural de Pernambuco, Brasil E-mail: [email protected] Rômulo Simões Cezar Menezes ORCID: https://orcid.org/0000-0001-8740-366X Universidade Federal de Pernambuco, Brasil E-mail: [email protected] Tatijana Stosic ORCID: https://orcid.org/0000-0002-5691-945X Universidade Federal Rural de Pernambuco, Brasil E-mail: [email protected] Resumo A precipitação é a principal variável climática que é usada para modelar índices de risco para desastres naturais. Neste trabalho foi investigado a dinâmica não linear das séries temporais de chuvas mensais registradas de 1962 a 2012, em três estações no estado de Pernambuco, Brasil, localizadas em regiões com diferentes regimes de chuvas (Zona da Mata, Agreste e Sertão), fornecidos pelo Laboratório de Meteorologia do Instituto de Tecnologia de Pernambuco (LAMEP/ITEP). O objetivo deste trabalho é contribuir para uma melhor compreensão da distribuição espaço-temporal da precipitação no estado de Pernambuco.
    [Show full text]
  • Sarau Progrma
    Sarau at the Cultural Room of the Embassy of Brazil in Oslo NORWAY AND BRAZIL, FRIENDSHIP AND CULTURAL CONNECTIONS Friday, January 22, 2016 18:00 PROGRAM 2 A Embaixada do Brasil em Oslo agradece a participação e colaboração de todos para a realização desse evento! Evento realizado no Espaço Cultural da Embaixada do Brasil em Oslo. Organizado pela Senhora Maria Luíza Cestari com o apoio institucional do Setor Cultural da Embaixada do Brasil em Oslo. Músicos : Ricardo Dourado Freire, clarineta Isa Carolina Holmesland, violino e viola Andre Freire, violoncelo 2 Programa 18:00 Abertura da noite com algumas palavras do Senhor Embaixador Flávio Helmold Macieira Introdução do Sarau por Maria Luíza Cestari 18:30 Wolfang A. Mozart (Salzburg, 17561756---- Viena, 1791) Divertimento E-Dur, Kv. 563 (1788) Allegro Adagio Allegro Edvard Grieg (Bergen, 18431843----1907)1907) Lyriske Stykker – Lyric Pieces, Op. 12 (1866/1867) N. 2 – Vals – Valse N. 3 – Albumblad – Album Lief N. 7 – Norsk – Norwegian Alberto Nepomuceno (Fortaleza, 18641864---- Rio de Janeiro, 1920) Prece – Pray, Op. 1 N. 1 (1877) Heitor VillaVilla----LobosLobos (1887(1887----1959)1959) Chôros N. 1 (1920) Luiz Americano (Aracaju, 19001900---- Rio de Janeiro, 1960) Sorriso de Cristal – Cristal smile (1953) Jacob do Bandolim (Rio de Janeiro, 19181918----1969)1969) Santa Morena (1954) 19:00 Perguntas e respostas com participação do público 21:00 Encerramento 3 4 SHORT BIOGRAPHIES Ricardo Dourado Freire was born in Brasilia, Brazil. He studied clarinet at the University of Brasilia with Luiz Gonzaga Carneiro, and completed his masters and doctoral studies at Michi- gan State University under the guidance of Dr.
    [Show full text]
  • Heitor Villa-Lobos and the Parisian Art Scene: How to Become a Brazilian Musician*
    1 Mana vol.1 no.se Rio de Janeiro Oct. 2006 Heitor Villa-Lobos and the Parisian art scene: how to become a Brazilian musician* Paulo Renato Guérios Master’s in Social Anthropology at PPGAS/Museu Nacional/UFRJ, currently a doctoral student at the same institution ABSTRACT This article discusses how the flux of cultural productions between centre and periphery works, taking as an example the field of music production in France and Brazil in the 1920s. The life trajectories of Jean Cocteau, French poet and painter, and Heitor Villa-Lobos, a Brazilian composer, are taken as the main reference points for the discussion. The article concludes that social actors from the periphery tend themselves to accept the opinions and judgements of the social actors from the centre, taking for granted their definitions concerning the criteria that validate their productions. Key words: Heitor Villa-Lobos, Brazilian Music, National Culture, Cultural Flows In July 1923, the Brazilian composer Heitor Villa-Lobos arrived in Paris as a complete unknown. Some five years had passed since his first large-scale concert in Brazil; Villa-Lobos journeyed to Europe with the intention of publicizing his musical output. His entry into the Parisian art world took place through the group of Brazilian modernist painters and writers he had encountered in 1922, immediately before the Modern Art Week in São Paulo. Following his arrival, the composer was invited to a lunch in the studio of the painter Tarsila do Amaral where he met up with, among others, the poet Sérgio Milliet, the pianist João de Souza Lima, the writer Oswald de Andrade and, among the Parisians, the poet Blaise Cendrars, the musician Erik Satie and the poet and painter Jean Cocteau.
    [Show full text]
  • Agosto-Setembro
    GIANCARLO GUERRERO REGE O CONCERTO PARA PIANO EM LÁ MENOR, DE GRIEG, COM O SOLISTA DMITRY MAYBORODA RECITAIS OSESP: O PIANISTA DMITRY MAYBORODA APRESENTA PEÇAS DE CHOPIN E RACHMANINOV FABIO MARTINO É O SOLISTA NO CONCERTO Nº 5 PARA PIANO, DE VILLA-LOBOS, SOB REGÊNCIA DE EDIÇÃO CELSO ANTUNES Nº 5, 2014 TIMOTHY MCALLISTER INTERPRETA A ESTREIA LATINO-AMERICANA DO CONCERTO PARA SAXOFONE, DE JOHN ADAMS, COENCOMENDA DA OSESP, SOB REGÊNCIA DE MARIN ALSOP OS PIANISTAS BRAD MEHLDAU E KEVIN HAYS APRESENTAM O PROGRAMA ESPECIAL MODERN MUSIC RECITAIS OSESP: JEAN-EFFLAM BAVOUZET, ARTISTA EM RESIDÊNCIA 2014, APRESENTA PEÇAS PARA PIANO DE BEETHOVEN, RAVEL E BARTÓK MÚSICA NA CABEÇA: ENCONTRO COM O COMPOSITOR SERGIO ASSAD O QUARTETO OSESP, COM JEAN-EFFLAM BAVOUZET, APRESENTA A ESTREIA MUNDIAL DE ESTÉTICA DO FRIO III - HOMENAGEM A LEONARD BERNSTEIN, DE CELSO LOUREIRO CHAVES, ENCOMENDA DA OSESP ISABELLE FAUST INTERPRETA O CONCERTO PARA VIOLINO, DE BEETHOVEN, E O CORO DA OSESP APRESENTA TRECHOS DE ÓPERAS DE WAGNER, SOB REGÊNCIA DE FRANK SHIPWAY CLÁUDIO CRUZ REGE A ORQUESTRA DE CÂMARA DA OSESP NA INTERPRETAÇÃO DA ESTREIA MUNDIAL DE SONHOS E MEMÓRIAS, DE SERGIO ASSAD, ENCOMENDA DA OSESP COM SOLOS DE NATAN ALBUQUERQUE JR. A MEZZO SOPRANO CHRISTIANNE STOTIJN INTERPRETA CANÇÕES DE NERUDA, DE PETER LIEBERSON, SOB REGÊNCIA DE LAWRENCE RENES MÚSICA NA CABEÇA: ENCONTRO COM O COMPOSITOR CELSO LOUREIRO CHAVES JUVENTUDE SÔNICa – UM COMPOSITOR EM Desde 2012, a Revista Osesp tem ISSN, BUSCA DE VOZ PRÓPRIA um selo de reconhecimento intelectual JOHN ADAMS 4 e acadêmico. Isso significa que os textos aqui publicados são dignos de referência na área e podem ser indexados nos sistemas nacionais e AGO ago internacionais de pesquisa.
    [Show full text]
  • Variability in Number of Rainy Days in State of Sergipe
    (DOI): 10.5777/PAeT.V4.N1.03 This article is presented in Portuguese and English with “resumen“ in Spanish. Brazilian Journal of Applied Technology for Agricultural Science, v. 4, n.1, p. 45-64, 2011. Scientific paper Variability in number of rainy days Abstract in state of Sergipe – SE Among the many factors that affect human activities, mainly Emerson Ricardo Rodrigues Pereira1 agriculture, the climate is distinguished by its decisive Joherlan Campos de Freitas2 influence on the variations presented by the irregularities in the dry and wet periods in the given region. Among the Antonio Ricardo Santo de Andrade3 variables that make up the climate, especially for annual Veneziano Guedes de Sousa4 crops, rain is the variable that most affects the result of crop production. In this sense, the objective was to evaluate the variability of rainfall data for the State of Sergipe, SE, through the preparation of maps of the average number of rainy days, and the coefficients of variation (CV) of rainfall and the number of rainy days for annual periods, dry and rainy. In this work it was used the series of monthly total rainfall of 40 rainfall stations with at least 30 years of data, continuous and seamless. We found that the highest values of the coefficient of variation are associated with lower levels of rainfall and number of rainy days. The variability of rainfall is lower in regions with rainy periods, when compared to dry periods. Key word: variation coefficient, rainy day, dry and wet periods. Introduction Kendall test, SILVA (2004) observed significantly decreasing tendencies in several places of this Rainfall is one of the most important variables region.
    [Show full text]
  • 1 Concert 2 – Nordic Triumph November 16, 2019 Overture To
    Concert 2 – Nordic Triumph November 16, 2019 Overture to Maskarade —Carl Nielsen Carl Nielsen is now acknowledged as Denmark’s most distinguished composer, and more than deserving to take his place with Grieg and Sibelius in the pantheon of Scandinavia’s long-revered composers. It was not always so, of course, and it was not until the middle of the twentieth century that his music enjoyed broad admiration, study, and performance. Not that he ever languished in obscurity, for by his forties, he was regarded as Denmark’s leading musician. He grew up in modest circumstances— certainly not a prodigy—studied assiduously, played in several unpretentious ensembles on various instruments, and began composing in small forms. He was intellectually curious, reading and pondering philosophy, history, and literature, and it must be said, was profoundly aided in his overall growth as a composer and in general intellectual sophistication by his long marriage to a remarkable woman. His wife, Anne Marie Brodersen, was a recognized major sculptor, a “strong- willed and modern-minded woman” who was relentless in the pursuit of her own, very successful career as an artist. Her independence—and penchant for frequently leaving the family to pursue her own career—impacted the tranquility of the marriage, without doubt. But, she was a stimulating, strong partner that unquestionably aided in his development into an artist of spiritual depth and sophistication. Nielsen’s reputation outside of Denmark is largely sustained by his six symphonies—Leonard Bernstein was an influential international champion of them—but he composed actively in almost all major genres.
    [Show full text]
  • Produção De Leite Em Microrregiões Do Agreste Alagoano
    Produção de leite em Microrregiões do Agreste Alagoano Revista Eletrônica Leite, comparação, produtividade. 1 Rafaelle Santos Santana Vol. 13, Nº 06, nov./ dez. de 2016 José Crisólogo de Sales Silva2 ISSN: 1983-9006 www.nutritime.com.br 1 Fernanda de Araujo Vieira A Nutritime Revista Eletrônica é uma publicação bimestral da Nutritime Ltda. Com o objetivo de divulgar revisões de 1 literatura, artigos técnicos e científicos bem como resulta- Especialista em Bovinocultura de Leite da Universidade Estadual de dos de pesquisa nas áreas de Ciência Animal, através do Alagoas- UNEAL, Santana do Ipanema (AL); [email protected]. 2Professor Titular do Curso de Zootecnia da Universidade Estadual de endereço eletrônico: http://www.nutritime.com.br. Todo o conteúdo expresso neste artigo é de inteira res- Alagoas. ponsabilidade dos seus autores. RESUMO MILK PRODUCTION IN THE MICROREGIONS AGRESTE ALAGOANO Com o presente estudo objetivou-se realizar um ABSTRACT comparativo sobre a produção de leite nas microrregiões do agreste alagoano no ano de 2014. The present study aimed to conduct a comparison of A pesquisa foi do tipo quantitativa por meio de milk production in the regions of Alagoas wild in the dados de domínio público obtidos no Instituto year 2014. The research was of a quantitative type Brasileiro de Geografia e Estatística (IBGE). Foi through data public domain obtained from the acessado o link Pecuária Municipal (PPM) dentro da Brazilian Institute of Geography and Statistics. It was opção Economia. A produção selecionada foi de accessed the link Municipal Livestock (PPM) within leite no período de 01/01 a 31/12 de 2014, segundo the Economy option.
    [Show full text]
  • Edvard Grieg: Between Two Worlds Edvard Grieg: Between Two Worlds
    EDVARD GRIEG: BETWEEN TWO WORLDS EDVARD GRIEG: BETWEEN TWO WORLDS By REBEKAH JORDAN A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts McMaster University © Copyright by Rebekah Jordan, April, 2003 MASTER OF ARTS (2003) 1vIc1vlaster University (1vIllSic <=riticisIll) HaIllilton, Ontario Title: Edvard Grieg: Between Two Worlds Author: Rebekah Jordan, B. 1vIus (EastIllan School of 1vIllSic) Sllpervisor: Dr. Hllgh Hartwell NUIllber of pages: v, 129 11 ABSTRACT Although Edvard Grieg is recognized primarily as a nationalist composer among a plethora of other nationalist composers, he is much more than that. While the inspiration for much of his music rests in the hills and fjords, the folk tales and legends, and the pastoral settings of his native Norway and his melodic lines and unique harmonies bring to the mind of the listener pictures of that land, to restrict Grieg's music to the realm of nationalism requires one to ignore its international character. In tracing the various transitions in the development of Grieg's compositional style, one can discern the influences of his early training in Bergen, his four years at the Leipzig Conservatory, and his friendship with Norwegian nationalists - all intricately blended with his own harmonic inventiveness -- to produce music which is uniquely Griegian. Though his music and his performances were received with acclaim in the major concert venues of Europe, Grieg continued to pursue international recognition to repudiate the criticism that he was only a composer of Norwegian music. In conclusion, this thesis demonstrates that the international influence of this so-called Norwegian maestro had a profound influence on many other composers and was instrumental in the development of Impressionist harmonies.
    [Show full text]