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Download PDF 1.6 MB Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2018 The Influence of Brazilian Choro on Selected Solo Bassoon Works of Francisco Mignone and Selected Chamber Works of Heitor Villa-Lobos Fabio Benites Felippe da Silva Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE INFLUENCE OF BRAZILIAN CHORO ON SELECTED SOLO BASSOON WORKS OF FRANCISCO MIGNONE AND SELECTED CHAMBER WORKS OF HEITOR VILLA-LOBOS By FÁBIO BENITES FELIPPE DA SILVA A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor in Music 2018 i Fábio Benites Felippe da Silva defended this treatise on 6 April 2018 The members of the supervisory committee were: Jeffrey Keesecker Professor Directing Treatise Michael Buchler University Representative Eric Ohlsson Committee Member Deborah Bish Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ACKNOWLEDGEMENTS A special thanks to my parents and my sister, I wouldn't have gone this far in my academic and professional life without their support. Another special thanks to Sarah Lucas, who always helped me with my research, proofread my work, and supported me in life. I am deeply indebted to my adviser Jeffrey Kessecker for his fundamental role in my doctoral work. He provided me with the assistance I needed to improve my bassoon playing and guided me through the preparation of this treatise. I am also grateful for his wisdom and support. I would like to thank my committee, Dr. Eric Ohlsson, Dr. Deborah Bish, and Dr. Michael Buchler. Their support of my recitals and their comments on my treatise were invaluable to my work. I would like to thank the Tallahassee Choro Society for the support in my lecture recital and for giving me the opportunity to perform Brazilian music in Tallahassee. Lastly I would like to thank my previous bassoon teachers, Benjamin Coelho, Fábio Cury, Flávio Silva, Cristina Porto, and Ebnezer Nogueira, who were always supportive of me advancing to higher degrees and for their knowledge in Brazilian music, which culminated in this work. iii TABLE OF CONTENTS List of Examples ............................................................................................................................. v Abstract ........................................................................................................................................ viii CHAPTER 1: INTRODUCTION .................................................................................................. 1 CHAPTER 2: MUSICAL CHARACTERISTICS OF CHORO .................................................. 11 CHAPTER 3: THE INFLUENCE OF CHORO ON SELECTED WORKS BY FRANCISCO MIGNONE FOR SOLO BASSOON ............................................................................................ 24 CHAPTER 4: THE INFLUENCE OF CHORO ON SELECTED CHAMBER MUSIC WORKS BY HEITOR VILLA-LOBOS WHICH INCLUDE BASSOON ................................................. 38 CHAPTER 5: CONCLUSION .................................................................................................... 52 References ..................................................................................................................................... 53 Biographical Sketch ...................................................................................................................... 58 iv LIST OF EXAMPLES Example 1: Syncopated Figure. .................................................................................................... 11 Example 2: Syncopated Figure in the bass lines of mm. 1-4 of Acerta o Passo (Walk Faster) by Pixinguinha and Benedito Lacerda, realized by Pixinguinha. .............................................. 12 Example 3: Syncopated Figure examples in the melody lines of mm. 5-15 of Carinhoso (Affectionate) by Pixinguinha. .............................................................................................. 12 Example 4: Lundú com Ganzá, mm. 1-7. Translation: Nordeste (Northeast region of Brazil). ... 13 Example 5: Ma Malia, mm. 4-8, collected in the city of Franca, state of São Paulo, by a student of Mário de Andrade. Translations of the text: “Lundú de negro velho” (Literally “Lundu of an old black person”); Um favô eu vai ti pidi (I will ask you a favor). ............................ 13 Example 6: Anacrusis Figure. ....................................................................................................... 13 Example 7: Anacrusis Figure, upward and lower neighbor motion on mm. 1-4 Benzinho (Darling) by Jacob do Bandolim. .......................................................................................... 14 Example 8: Anacrusis Figure, downward motion on mm. 1-4 of Apanhei-te Cavaquinho (I Caught You, Cavaquinho) by Ernesto Nazareth. .................................................................. 14 Example 9: Anacrusis Figure, upper neighbor with written ornamentation found on mm. 17-20 of Apanhei-te Cavaquinho by Ernesto Nazareth. ................................................................. 14 Example 10: Anacrusis Figure, same note in mm.1-4 of Brasileirinho (Little Brazilian) by Waldir Azevedo. ................................................................................................................... 14 Example 11: Anacrusis Figure in the written bass lines of mm. 1-4 of Odeon by Ernesto Nazareth. ............................................................................................................................... 15 Example 12: Anacrusis Figure in the bass lines of mm. 1-4 of Acerta o Passo (Adjust the Step) by Pixinguinha and Benedito Lacerda, realized by Pixinguinha. ......................................... 15 Example 13: Extended Anacrusis Figure. ..................................................................................... 15 Example 14: Extended Anacrusis Figure on mm. 28-32 of Flor Amorosa (Lovely Flower) by Joaquim Callado and Catulo da Paixão Cearense. ................................................................ 15 Example 15: Extended Anacrusis Figure in the bass lines of mm. 18-23 of Segura Ele (Hold him) by Pixinguinha and Benedito Lacerda, realized by Pixinguinha. ................................. 16 Example 16: Mm. 18-19 of Chorando Baixinho (Quietly Playing Choro) by Abel Ferreira. ...... 17 Example 17: Transcription of mm. 18-19 of Chorando Baixinho by Abel Ferreira as recorded by Paulo Sérgio Santos. Transcription by Wagno Macedo Gomes. .......................................... 18 Example 18: Transcription of mm. 17-28 of Rosa, by Pixinguinha. ............................................ 18 Example 19: Measures 14-15 of Chorando Baixinho by Abel Ferreira. ...................................... 18 v Example 20: Transcription of mm. 14-15 of Chorando Baixinho by Abel Ferreira as recorded by Paulo Sérgio Santos. Transcription by Wagno Macedo Gomes. .......................................... 19 Example 21: Chromatic and stepwise bass lines motion and chord inversions on mm. 1-4 of Odeon by Ernesto Nazareth. ................................................................................................. 19 Example 22: Example of chromaticism in the bass lines of mm. 18-23 of Cheguei (I arrived) by Pixinguinha and Benedito Lacerda, realized by Pixinguinha. ......................................... 19 Example 23: Chorando Baixinho by Abel Ferreira with bass lines realization by David Diel. ... 21 Example 24: Detail of the trio section on the 1926 edition of Odeon by Ernesto Nazareth. Translations of the text: Do (From); Ao (To); Segue Trio (To trio); Com Brilho (Con brio in Italian, Lively); Menos (Less). ......................................................................................... 23 Example 25: Mm. 9 and 12-13 of Concertino for Bassoon and Orchestra, First Movement, by Francisco Mignone. ............................................................................................................... 26 Example 26: Mm. 17-20 of Concertino for Bassoon and Orchestra, First Movement, by Francisco Mignone. ............................................................................................................... 26 Example 27: Mm. 3-7 of Concertino for Bassoon and Orchestra, Second Movement, by Francisco Mignone. ............................................................................................................... 27 Example 28: Mm. 11-13 of Concertino for Bassoon and Orchestra, Second Movement, by Francisco Mignone. ............................................................................................................... 27 Example 29: Mm. 17-19 of Um a Zero (1-0) by Pixinguinha and Osvaldo Lacerda. .................. 27 Example 30: Mm. 12-16 of Concertino for Bassoon and Orchestra, Second Movement, by Francisco Mignone. Piano reduction by the composer. ........................................................ 28 Example 31: Mm. 154-156 of Concertino for Bassoon and Orchestra, Second Movement, by Francisco Mignone. ............................................................................................................... 28 Example 32: Mm. 57-60 of Um a Zero (1-0) by Pixinguinha and Osvaldo Lacerda. .................. 28 Example 33: Mm. 27-30 of Valsa-Choro (Choro Waltz)
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