DOCSLIB.ORG

The Symbiosis Between Villa-Lobos's Carnaval Das Crianças and Momoprecoce: a Comparative Study

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Symbiosis Between Villa-Lobos's Carnaval Das Crianças and Momoprecoce: a Comparative Study City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2015 The Symbiosis Between Villa-Lobos's Carnaval Das Crianças And Momoprecoce: A Comparative Study Vanessa Rodrigues Cunha Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/896 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE SYMBIOSIS BETWEEN VILLA-LOBOS’S CARNAVAL DAS CRIANÇAS AND MOMOPRECOCE: A COMPARATIVE STUDY by VANESSA CUNHA A dissertation submitted to the Graduate Center Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2015 This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts ______________________________________ Shaugn O’Donnell 04/15/2015 _______________ ______________________________________ Date Chair of Examining Committee ______________________________________ Norman Carey 04/15/2015 ________________ ______________________________________ Date MusicProgram Executive Officer Professor Poundie Burstein Professor Antoni Pizà Professor Shaugn O'Donnell Professor Alison Deane Supervisory Committee THE CITY UNIVERSITY OF NEW YORK ii ABSTRACT THE SYMBIOSIS BETWEEN VILLA-LOBOS’S CARNAVAL DAS CRIANÇAS AND MOMOPRECOCE: A COMPARATIVE STUDY by Vanessa Cunha Adviser: Professor Poundie Burstein Heitor Villa-Lobos (1887-1959), one the most important figures in Brazilian music, played a crucial role in establishing nationalism in Brazil through musical explorations of the unique character of Brazilian culture. This culture, a cacophonous mix of European lineage and African and indigenous influences, is exemplified in the country’s most popular and authentic celebration: the carnival. This dissertation explores Villa-Lobos’s musical portrait of the carnival through analysis of Carnaval das Crianças for piano, and that work’s reconfiguration as the piano fantasy Momoprecoce, focusing on a comparison of the two works to illuminate how Villa-Lobos kept the core of the original piece while metamorphosing its artistic intent and purpose. This document begins with a discussion of the tradition of reworking compositions for new purposes; followed by a biographical sketch of Villa-Lobos tracing his compositional language and the features that most impacted his works written before 1930s. The next section reviews the history of carnival in Brazil and the music traditionally performed for it, clarifying the connection between the music played during carnival in Rio and Villa-Lobos’s depiction of the Brazilian celebration. This background iii prepares the analysis of Carnaval das Crianças, exploring form, harmonic and rhythmic language, melodic structure and thematic development, texture and idiomatic elements. Subsequently, a comparative study between Carnaval das Crianças and Momoprecoce clarifies the symbiosis between the two works by detailing how Villa-Lobos amalgamated the musical ideas of Carnaval das Crianças into Momoprecoce. iv ACKNOWLEGEMENTS I would like to thank my wonderful husband Mika, for inspiring and supporting me during this whole process, always offering encouraging feedback. I also thank my loving mother, Cecília for teaching me endurance and inner strength and my most esteemed mentor Myrian Daueslberg, who has always found a way to make my goals achievable. I am also thankful for Professor Poundie Burstein and Professor Pizà, for their constant assistance and clever advice and for sharing their expertise in musical research. Finally, I would like to acknowledge my friend Rebekka Gold for always understanding my thought process. v TABLE OF CONTENTS Abstract ........................................................................................................................ iii Acknowledgments..........................................................................................................v List of Tables ............................................................................................................. viii List of Examples .......................................................................................................... ix CHAPTER ONE. Introduction ......................................................................................1 Villa-Lobos Reinvented .....................................................................................5 Biographical Overview ....................................................................................10 Nationalism and the “Week of Modern Art”……………………………….. .14 CHAPTER TWO. Musical Language………………………………………………..21 1. Impressionism ...............................................................................……….23 2. Primitivism and Experimentation………………….……………………. ..25 3. Quest for National Elements: Brazilian Images and Themes………….… 28 4. Folklore ……………………………………………………….….……… 32 5. African and Indigenous Influences………………………………………..34 6. Popular Music……………………………………………………. .………37 7. Themes of Childhood…………………………………………….… .……42 CHAPTER THREE. Brazilian Carnival: Introduction ................................................45 Carnaval Carioca ............................................................................................48 vi Costumes ....................................................................................................51 Music: Overview…………………………………………………………53 Modinha................................................................................................55 Polca .....................................................................................................58 Maxixe .................................................................................................60 Marcha-Rancho ....................................................................................61 Samba ...................................................................................................64 CHAPTER FOUR. Carnaval das Crianças ...............................................................71 Analysis: Carnaval das Crianças ....................................................................72 1. “Ginete do Pierrozinho” - The Little Pierrot’s Pony ..............................72 2. “O Chicote do Diabinho” - The Little Devil’s Whip .............................77 3. “A Manhã da Pierrete” - The Pierrette’s Morning .................................85 4. “Os Guizos do Dominozinho” - The Little Domino’s Jingle Bells........89 5. “As Peripécias do Trapeirozinho” - The Little Ragpicker’s Adventures .......................................................96 6. “As Traquinices de um Mascarado Mignon” - The Mischievousness of the Little Masked Boy ..................................101 7. “A Gaita de um Precoce Fantasiado” - The Fife of a Precocious Costumed Boy ...........................................109 8. “A Folia de um Bloco Infantil” - The Frolics of a Children’s Band ........................................................114 vii CHAPTER FIVE. Momoprecoce ...............................................................................124 Analysis: Momoprecoce .................................................................................126 Scene 1: “Ginete do Pierrozinho,” mm. 1-46 .............................................126 Scene 2: “O Chicote do Diabinho,” mm. 47-171 ....................................130 Interlude 1: mm. 172-278 ...........................................................................135 Scene 3: “A Manhã da Pierrete,” mm. 279-326 ..........................................141 Scene 4: “Os Guizos do Dominozinho,” mm. 327-442 ..............................144 Interlude 2: mm. 443-482………… ........………………………………...150 Scene 5: “As Peripécias de um Trapeirozinho,” mm. 482-530 .........…….157 Scene 6: “As Traquinices de um Mascarado Mignon,” mm. 531-636 ...…159 Interlude 3: mm. 637-674 ...........................................................................164 Scene 7: “A Gaita de um Precoce Fantasiado,” mm. 675-725 ...................168 Scene 8: “A Folia de um Bloco Infantil,” mm. 726 to 938………………..170 CONCLUSION ..........................................................................................................182 BIBLIOGRAPHY ......................................................................................................185 viii LIST OF TABLES CHAPTER FOUR Table 4.1: Formal structure of “O Ginete do Pierrozinho”………………………....73 Table 4.2: Formal structure of “O Chicote do Diabinho”…………………………..79 Table 4.3: Formal structure of “A Manhã da Pierrete”……………………………..86 Table 4.4: Formal structure of “Os Guizos do Dominozinho”……………………..90 Table 4.5: Formal structure of “Os Guizos do Dominozinho”……………………..98 Table 4.6: Formal structure of “As Traquinices de um Mascarado Mignon” .........103 Table 4.7: Formal structure of “A Gaita de um Precoce Fantasiado” .....................111 Table 4.8: Formal structure of “A Folia de um Bloco Infantil” ..............................116 CHAPTER FIVE Table 5.1: Formal structure of Interlude 1……………………………………….137 Table 5.2: Formal structure for the introduction to Scene 4……………………..146 Table 5.2: Formal structure of Interlude 3……………………………………….165 ix LIST OF EXAMPLES
Load more

Recommended publications
  • Msm Camerata Nova
    Saturday, March 6, 2021 | 12:15 PM Livestreamed from Neidorff-Karpati Hall MSM CAMERATA NOVA George Manahan (BM ’73, MM ’76), Conductor PROGRAM JAMES LEE III A Narrow Pathway Traveled from Night Visions of Kippur (b. 1975) CHARLES WUORINEN New York Notes (1938–2020) (Fast) (Slow) HEITOR VILLA-LOBOS Chôros No. 7 (1887–1959) MAURICE RAVEL Introduction et Allegro (1875–1937) CAMERATA NOVA VIOLIN 1 VIOLA OBOE SAXOPHONE HARP Youjin Choi Sara Dudley Aaron Zhongyang Ling Minyoung Kwon New York, New York New York, New York Haettenschwiller Beijing, China Seoul, South Korea Baltimore, Maryland VIOLIN 2 CELLO PERCUSSION PIANO Ally Cho Rei Otake CLARINET Arthur Seth Schultheis Melbourne, Australia Tokyo, Japan Ki-Deok Park Dhuique-Mayer Baltimore, Maryland Chicago, Illinois Champigny-Sur-Marne, France FLUTE Tarun Bellur Marcos Ruiz BASSOON Plano, Texas Miami, Florida Matthew Pauls Simi Valley, California ABOUT THE ARTISTS George Manahan, Conductor George Manahan is in his 11th season as Director of Orchestral Activities at Manhattan School of Music, as well as Music Director of the American Composers Orchestra and the Portland Opera. He served as Music Director of the New York City Opera for 14 seasons and was hailed for his leadership of the orchestra. He was also Music Director of the Richmond Symphony (VA) for 12 seasons. Recipient of Columbia University’s Ditson Conductor’s Award, Mr. Manahan was also honored by the American Society of Composers and Publishers (ASCAP) for his “career-long advocacy for American composers and the music of our time.” His Carnegie Hall performance of Samuel Barber’s Antony and Cleopatra was hailed by audiences and critics alike.
    [Show full text]
  • University Microiilms, a XERQ\Company, Ann Arbor, Michigan
    71-18,075 RINEHART, John McLain, 1937- IVES' COMPOSITIONAL IDIOMS: AN INVESTIGATION OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS' OF HIS MUSICAL LANGUAGE. The Ohio State University, Ph.D., 1970 Music University Microiilms, A XERQ\Company, Ann Arbor, Michigan © Copyright by John McLain Rinehart 1971 tutc nTccrSTATmil HAS fiEEM MICROFILMED EXACTLY AS RECEIVED IVES' COMPOSITIONAL IDIOMS: AM IMVESTIOAT10M OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS OF HIS MUSICAL LANGUAGE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy 3n the Graduate School of The Ohio State University £ JohnfRinehart, A.B., M«M. # # * -k * * # The Ohio State University 1970 Approved by .s* ' ( y ^MrrXfOor School of Music ACm.WTji.D0F,:4ENTS Grateful acknov/ledgement is made to the library of the Yale School of Music for permission to make use of manuscript materials from the Ives Collection, I further vrish to express gratitude to Professor IJoman Phelps, whose wise counsel and keen awareness of music theory have guided me in thi3 project. Finally, I wish to acknowledge my wife, Jennifer, without whose patience and expertise this project would never have come to fruition. it VITA March 17, 1937 • ••••• Dorn - Pittsburgh, Pennsylvania 1959 • • • • • .......... A#B#, Kent State University, Kent, Ohio 1960-1963 . * ........... Instructor, Cleveland Institute of Music, Cleveland, Ohio 1 9 6 1 ................ • • • M.M., Cleveland Institute of ITu3ic, Cleveland, Ohio 1963-1970 .......... • • • Associate Professor of Music, Heidelberg College, Tiffin, Ohio PUBLICATIONS Credo, for unaccompanied chorus# New York: Plymouth Music Company, 1969. FIELDS OF STUDY Major Field: Theory and Composition Studies in Theory# Professor Norman Phelps Studies in Musicology# Professors Richard Hoppin and Lee Rigsby ill TAPLE OF CC NTEKTS A C KI JO WLE DGEME MT S ...............................................
    [Show full text]
  • Robert GADEN: Slim GAILLARD
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Robert GADEN: Robert Gaden -v,ldr; H.O. McFarlane, Karl Emmerling, Karl Nierenz -tp; Eduard Krause, Paul Hartmann -tb; Kurt Arlt, Joe Alex, Wolf Gradies -ts,as,bs; Hans Becker, Alex Beregowsky, Adalbert Luczkowski -v; Horst Kudritzki -p; Harold M. Kirchstein -g; Karl Grassnick -tu,b; Waldi Luczkowski - d; recorded September 1933 in Berlin 65485 ORIENT EXPRESS 2.47 EOD1717-2 Elec EG2859 Robert Gaden und sein Orchester; recorded September 16, 1933 in Berlin 108044 ORIENTEXPRESS 2.45 OD1717-2 --- Robert Gaden mit seinem Orchester; recorded December 1936 in Berlin 105298 MEIN ENTZÜCKENDES FRÄULEIN 2.21 ORA 1653-1 HMV EG3821 Robert Gaden mit seinem Orchester; recorded October 1938 in Berlin 106900 ICH HAB DAS GLÜCK GESEHEN 2.12 ORA3296-2 Elec EG6519 Robert Gaden mit seinem Orchester; recorded November 1938 in Berlin 106902 SIGNORINA 2.40 ORA3571-2 Elec EG6567 106962 SPANISCHER ZIGEUNERTANZ 2.45 ORA 3370-1 --- Robert Gaden mit seinem Orchester; Refraingesang: Rudi Schuricke; recorded September 1939 in Berlin 106907 TAUSEND SCHÖNE MÄRCHEN 2.56 ORA4169-1 Elec EG7098 ------------------------------------------ Slim GAILLARD: "Swing Street" Slim Gaillard -g,vib,vo; Slam Stewart -b; Sam Allen -p; Pompey 'Guts' Dobson -d; recorded February 17, 1938 in New York 9079 FLAT FOOT FLOOGIE 2.51 22318-4 Voc 4021 Some sources say that Lionel Hampton plays vibraphone. 98874 CHINATOWN MY CHINATOWN
    [Show full text]
  • Brazilian Choro
    The Brazilian by Tadeu Coelho and Julie Koidin Choro: Historical Perspectives and Performance Practices alanço is to choro as swing is to jazz—in both, mandatory elements to proper performance Band enjoyment of the music. Immersion in the sound of choro is imperative to playing it well. Knowledge of its origins and history is also helpful. Introduction the melody through spirited improvisations, sometimes David Willoughby, editor of the College Music Society quoting other melodies, from popular to classical styles. Newsletter, posed these questions: Should it not be a con- Although easier to decipher these performance intricacies stantly sought after goal for musicians trained in narrow via recordings, it still remains difficult—although not specialties to work together towards broader musical impossible—to catch the “twinkle” in the performer’s eye. understandings and towards the creation of a more Choro’s limited dissemination is furthered by its lack of vibrant musical culture? Should such a culture comprise accurate printed music. The vast majority of sheet music only materials imported from Western Europe? Should it publications have accompaniment that is written in a lead not synthesize musical repertories, of various kinds, from sheet format, i.e. chord symbols over melody. Without a all over the world?1 recording, it would be impossible to decipher the rhythms Throughout the world, the tradition of a country studying used in the accompaniment. The numerous errors found in its own cultural practices is not inceptive with its art. Such is the majority of publications, both in the melodic lines and the case of the choro, an indigenous music of Brazil, mostly chord symbols, further infringe on the probability of the instrumental, but at times with lyrics.
    [Show full text]
  • Universality and Diversity in Human Song Samuel A. Mehr1,2*, Manvir
    This is a provisionally accepted manuscript. The published version will differ from it substantially. Please cite it as: Mehr, S. A., Singh, M., Knox, D., Ketter, D. M., Pickens-Jones, D., Atwood, S., Lucas, C., Egner, A., Jacoby, N., Hopkins, E. J., Howard, R. M., Hartshorne, J. K., Jennings, M. V., Simson, J., Bainbridge, C. M., Pinker, S., O'Donnell, T. J., Krasnow, M. M., & Glowacki, L. (forthcoming). Universality and diversity in human song. Science . Universality and diversity in human song Samuel A. Mehr 1,2*, Manvir Singh 3*, Dean Knox 4, Daniel M. Ketter 6,7, Daniel Pickens-Jones 8, Stephanie Atwood 2, Christopher Lucas 5, Alena Egner 2, Nori Jacoby 10, Erin J. Hopkins 2, Rhea M. Howard 2, Timothy J. O’Donnell 11, Steven Pinker 2, Max M. Krasnow 2, and Luke Glowacki 12* 1 Data Science Initiative, Harvard University 2 Department of Psychology, Harvard University 3 Department of Human Evolutionary Biology, Harvard University 4 Department of Politics, Princeton University 5 Department of Political Science, Washington University in St. Louis 6 Eastman School of Music, University of Rochester 7 Department of Music, Missouri State University 8 Portland, Oregon 9 Department of Psychology, University of California at Los Angeles 10 Max Planck Institute for Empirical Aesthetics 11 Department of Linguistics, McGill University 12 Department of Anthropology, Pennsylvania State University *Correspondence to [email protected] (S.A.M.), [email protected] (M.S.), and [email protected] (L.G.) Abstract What is universal about music across human societies, and what varies? We built a corpus of ethnographic text on musical behavior from a representative sample of the world’s societies and a discography of audio recordings of the music itself.
    [Show full text]
  • Copyright by Daniel Sherwood Sotelino 2006 Choro Paulistano and the Seven-String Guitar: an Ethnographic History
    Copyright by Daniel Sherwood Sotelino 2006 Choro Paulistano and the Seven-String Guitar: an Ethnographic History by Daniel Sherwood Sotelino, B.A. Master’s Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Ethnomusicology Master of Music The University of Texas at Austin May 2006 Choro Paulistano and the Seven-String Guitar: an Ethnographic History Approved by Supervising Committee: Dedication To Dr. Gerard Béhague Friend and Mentor Treasure of Knowledge 1937–2005 Acknowledgements I would like to express utmost gratitude to my family–my wife, Mariah, my brother, Marco, and my parents, Fernando & Karen–for supporting my musical and scholarly pursuits for all of these years. I offer special thanks to José Luiz Herencia and the Instituto Moreira Salles, luthier João Batista, the great chorões Israel and Izaías Bueno de Almeida, Luizinho Sete Cordas, Arnaldinho at Contemporânea Instrumentos Musicais, Sandra at the Music Library of UFRJ, Wilson Sete Cordas, the folks at Ó do Borogodó, and everyone at Praça Benedito Calixto, Sesc Pompéia, Pop’s Music, and Cachuera. I am very appreciative of Lúcia for all of her delicious cooking. I am fortunate to have worked with the professors and instructors at the University of Texas-Austin: Dr. Slawek, my advisor, who truly encourages intellectual exploration; Dr. Moore for his candid observations; Dr. Hale for his tireless dedication to teaching; Dr. Mooney, for wonderful research opportunities; Dr. Dell’Antonio for looking out for the interests and needs of students, and for providing valuable insight; Dr.
    [Show full text]
  • PORT 365 Course Syllabus
    University of Washington Department of Spanish and Portuguese Studies Portuguese 365/ JSIS A 365 From Samba to Funk: A Portray of Brazilian Society through Music (Mapping Luso-Brazilian Cultures) Areas of Knowledge: Individual and Societies, Diversity, Visual Literary and Performing Arts Winter 2020 Instructors: Eduardo Viana da Silva [email protected] Class meets on T/Th – 1:30-3:20 pm Phone number: (206) 543-794 Denny Hall, room 259 Office: Padelford, room C-222 Office hours: Tue (3:30-4:30) Th (11:30-12:30) JSIS A 365/ PORT 365 - Catalogue Description Explores cultures of Brazil, Portuguese-speaking Africa, Asia, and Europe within the framework of cultural studies theory. Follows an interdisciplinary approach, drawing from readings, audio files (radio), films and documentaries in history, literature, arts and performances, anthropology, among others. Focuses on selected cultural aspects and countries. Taught in English. Course Description for Winter 2020 This course will look at several cultural representations of Brazil and other Portuguese-speaking countries through music, including genres as samba, choro, tropicália, maracatu, and funk, among others. Most of the course work will focus on Brazilian society and history through music. We will also study some of the musical genres from Portugal, Angola, Cape Verde, and Mozambique and its historical and cultural aspects as well. By the end of this course students will be able to: • Evaluate aspects of culture formation through several music genres in Brazil, Mozambique, Angola, Cape Verde, and Portugal; • Cultivate a critical appreciation and understanding of music genres and artists from the Luso-Brazilian world; • Develop an understanding of pertinent culture differences and global citizenship; • Consider the lasting ideas and values of similarities and differences between the self and the other, in light of each culture; • Learn to read and interpret critically; • Evaluate ideas from multiple perspectives.
    [Show full text]
  • An Annotated Catalogue of the Major Piano Works of Sergei Rachmaninoff Angela Glover
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 An Annotated Catalogue of the Major Piano Works of Sergei Rachmaninoff Angela Glover Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC AN ANNOTATED CATALOGUE OF THE MAJOR PIANO WORKS OF SERGEI RACHMANINOFF By ANGELA GLOVER A Treatise submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2003 The members of the Committee approve the treatise of Angela Glover defended on April 8, 2003. ___________________________________ Professor James Streem Professor Directing Treatise ___________________________________ Professor Janice Harsanyi Outside Committee Member ___________________________________ Professor Carolyn Bridger Committee Member ___________________________________ Professor Thomas Wright Committee Member The Office of Graduate Studies has verified and approved the above named committee members. TABLE OF CONTENTS Abstract………………………………………………….............................................. iv INTRODUCTION……………………………………………………………………. 1 1. MORCEAUX DE FANTAISIE, OP.3…………………………………………….. 3 2. MOMENTS MUSICAUX, OP.16……………………………………………….... 10 3. PRELUDES……………………………………………………………………….. 17 4. ETUDES-TABLEAUX…………………………………………………………… 36 5. SONATAS………………………………………………………………………… 51 6. VARIATIONS…………………………………………………………………….. 58 BIBLIOGRAPHY………………………………………………………………….
    [Show full text]
  • ROBERT SCHUMANN (1810-1856) EARL WILD in Concert
    EARL WILD In Concert 1983 & 1987 SCHUMANN Papillons Op.2 Sonata No.1 Op.11 Waldszenen Op.82 ROBERT SCHUMANN (1810-1856) EARL WILD in Concert Papillons, Op. 2 Sonata No. 1 in F sharp minor, Op. 11 Waldszenen, Op. 82 “As if all mental pictures must be shaped to fit one or two forms! As if each idea did not come into existence with its form ready-made! As if each work of art had not its own meaning and consequently its own form!” (Robert Schumann) No composer investigated the Romantic’s obsession with feeling and passion quite so thoroughly as Robert Alexander Schumann. For most of his life he suffered from inner torment - he died insane - but then some psychologists argue that madness is a necessary Robert Schumann attribute of genius. He was virtually self-taught (there were no musical antecedents in his family) which may account in part for having no qualms about dispensing with traditional forms of music and inventing his own (though in later years he wrote symphonies and quartets). Few men of his day knew more about music and musical theory than Schumann, but right from the start he was an innovator, a propagandist for the new, in love with literature almost as much as he was with music. His boldest contribution was to translate in his own picturesquely-entitled music - Arabesque, Kreisleriana, Carnaval, Papillons, Kinderszenen - his innermost thoughts and – 2 – emotions, unhindered by academic form. To Schumann, the pure idea from a cre- ative mind was itself sufficient aesthetic justification of its existence and for its form and content.
    [Show full text]
  • Brazilian Nationalistic Elements in the Brasilianas of Osvaldo Lacerda
    Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2006 Brazilian nationalistic elements in the Brasilianas of Osvaldo Lacerda Maria Jose Bernardes Di Cavalcanti Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Di Cavalcanti, Maria Jose Bernardes, "Brazilian nationalistic elements in the Brasilianas of Osvaldo Lacerda" (2006). LSU Major Papers. 39. https://digitalcommons.lsu.edu/gradschool_majorpapers/39 This Major Paper is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. BRAZILIAN NATIONALISTIC ELEMENTS IN THE BRASILIANAS OF OSVALDO LACERDA A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the Degree of Doctor of Musical Arts in The School of Music by Maria José Bernardes Di Cavalcanti B.M., Universidade Estadual do Ceará (Brazil), 1987 M.M., Louisiana State University, 2002 December 2006 © Copyright 2006 Maria José Bernardes Di Cavalcanti All Rights Reserved ii DEDICATION This monograph is dedicated to my husband Liduino José Pitombeira de Oliveira, for being my inspiration and for encouraging me during these years
    [Show full text]
  • Christ the Redeemer Or Cristo Redentor
    Rio Reinvent Your World in Color Qualification Requirements 2017 Bankers Fidelity® Sales Leaders Conference March 26–31, 2017 CON QSB 4649 2017 (12-15) Reinvent Your World in Color Greetings from the Cidade Maravihosa, or the Marvelous City, as Rio is known in Brazil. Rio is famed for its colorful carioca spirit—a name the city endearingly calls its residents. It represents a feeling of spontaneity, good nature, and a desire to live one’s life in full color. With its year-round tropical climate, golden shimmering beaches, and kaleidoscopic landscapes, the Cidade Maravihosa invites you to engage all your senses— and practice the fine art of the party. Considered the cradle of samba music, and of course, Carnival— the most infamous street party in the world, Rio possesses a rhythm all its own. A euphoric place where the world comes to dance, sing, and relax by the ocean awaits your qualification for this unforgettable trip to the bright heart of Brazil. Belmond Copacabana Palace This glamorous landmark is among the best hotels in Rio de Janeiro Since its Art Deco doors swung open in 1923, Belmond Copacabana Palace has been attracting eminent and fascinating people from around the world. With one of the city’s largest and most breath- taking pools, expect to sunbathe near a team of pool assistants available to cater to your every request, from fresh towels to cool drinks. Tennis courts, beach services, spas, boutiques, and fine restaurants mark the hotel as THE renowned spot to see and be seen in Rio. Carnival The Rio Carnival began in the 1840s, brought over by the city’s Parisian bourgeoisie as a rather sedate masked ball, where people would host masquerade parties and spend the evening dancing polkas and waltzes.
    [Show full text]
  • 00001-2006 ( .Pdf )
    Jan2006.qxd 1/5/06 12:16 PM Page 1 PRESORTED JANUARY 2006 STANDARD ® U.S. POSTAGE PAID MIAMI, FL PERMIT NO. 7315 Tel: (305) 238-2868 1-800-605-7516 [email protected] We cover your world Vol. 17 No. 2 [email protected] When America's largest mass tran- sit system was shut down for three consecu- tive days last month, it was Trinidadian Roger Toussaint who led the strike for more than 37,000 bus and subway employees, page 2. In just over a year, the Caribbean will host Cricket World Cup 2007, the one-day The trial of controversial game’s biggest spectacle. West Indies Jamaican Cricket Board President Ken Gordon cop Reneto Adams was (inset) believes the region, despite among the lingering problems such as the rising big stories coming out of crime rate and poor form of the West the Caribbean Indies team, is on track to put on a grand in 2005, another challenging year for the region as a whole, show for all the world to see, page 11. page 13. Reggae superstar Shaggy will be among the top enter- tainers scheduled to visit the Caribbean in 2006, a year jampacked with attractions which should appeal to homesters and prospective visitors to the region, page 17. INSIDE News . .2 Feature . .12 Arts/Entertainment . .17 Youth/Education . .21 Local . .7 Food . .14 Health . .18 Sport . .23 Viewpoint . .9 Tourism/Travel . .15 Business . .19 Region . .25 Jan2006.qxd 1/5/06 12:16 PM Page 2 2 CARIBBEAN TODAY January 2006 www.caribbeantoday.com NEWS Caribbean advocates condemn U.S.
    [Show full text]