Revista Vórtex, Curitiba, v.5, n.3, 2017, p.1-31, 2017
Resumo: No presente trabalho investigo aspectos técnicos e didáticos na produção para piano do
co... more Resumo: No presente trabalho investigo aspectos técnicos e didáticos na produção para piano do
compositor César-Guerra-Peixe, delimitada entre os anos de 1942 e 1949, contextualizando-os em suas
fases estéticas. Para tal, além de utilizar a mais frequente divisão de seus períodos composicionais,
elaboro uma tabela com base na literatura sobre os graus de dificuldade técnica de obras pianísticas
com destaque para o nível básico e intermediário. Como conclusão, elenco as dificuldades técnicas mais
frequentemente encontradas no repertório selecionado.
Palavras-chave: César-Guerra-Peixe; Repertório didático para piano; Música Brasileira para piano.
Abstract: In this paper I investigate in César Guerra-Peixe’s works for piano composed from 1942 to
1949 the main pedagogical aspects contextualizing them in the composer’s stylistic stages. In order to
do so, I utilize the most frequent division in phases on Guerra-Peixe’s chronology and the literature on
technical problems and challenges in piano pieces, particularly on basic and intermediate levels. As a
conclusion I enumerate the most frequent technical problems in the selected repertoire.
Keywords: César-Guerra-Peixe, Pedagogical Works for Piano, Brazilian Music for Piano.
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Abstract: This paper analyses the relations between form and Schemata in Wolfgang Amadeus Mozart’s E Minor Violin Sonata K304 (1778). Since this work is the composer’s sole composition in this genre in minor mode and has been attributed with remarkable expressive features once it was conceived during his travel to Mannheim, Munich and Paris – travel that coincide with his mother death – it’s compositional strategies and process are of particular interest. For this reason, through an approach via the Musical Schema concept, we seek to establish logical relations between the composer’s choice for Schemata disposition, form and unity in the work. We conclude that the eitherreiteration of internal variation process (especially increasing chromatism) in the Schema as the sharing of a set of Schemata on both movements of the work not only support the motivical but also the textural and aural unity, displaying aspects yet not much explored in the compositional process of this First Vienna School master.
Palavras-chave: Sonata para Violino e Piano em Mi Menor K304 – Wolfgang Amadeus Mozart – Schemata – Sonata – Estilo Galante.
Keywords: Violin and Piano Sonata in E Minor K304 – Wolfgang Amadeus Mozart – Schemata – Sonata – Galant Style.
Empréstimo, Simulação e Modelagem de Leonard Meyer verificar se o compositor brasileiro
Cláudio Santoro, em seu itinerário por suas fases estilísticas, se utilizou da tradição.
Observando as duas Sonatas para piano da década de 50 pode-se estabelecer uma relação
clara entre os processos propostos por Meyer e as técnicas composicionais empregadas por
Santoro.
Palavras-chave: Claudio Santoro; Leonard Meyer; Sonatas para Piano.
Abstract: This work seeks through a review of the concepts of Paraphrase, Simulation,
Borrowing and Modeling proposed by Leonard Meyer, to verify if the Brazilian composer
Claudio Santoro in his path through his many styles has made use of tradition. Observing
his two piano sonatas of the 50s we may be able to establish a clear relation between the
processes proposed by Meyer and the technical approach used by Santoro.
Keywords: Claudio Santoro; Leonard Meyer; Piano Sonata.
O presente trabalho investiga aspectos técnicos e didáticos, na produção para piano do compositor
César Guerra-Peixe, delimitada entre os anos de 1968 e 1981 contextualizando-os em sua fase estética
denominada nacionalista. Além de 3 suítes para piano denominadas “Infantis”, que trespassam as principais
fases de sua produção estilística, o compositor brasileiro escreveu um considerável número de peças (algumas
inclusive com o franco objetivo didático como as Minúsculas) para piano, que podem ser classificadas em
nível de dificuldade elementar e intermediário. Para tal tarefa, elaborou-se uma tabela com base na literatura
sobre os graus de dificuldade técnica de obras pianísticas, com destaque para esses níveis. Como conclusão,
citaram-se as dificuldades técnicas mais frequentemente encontradas no repertório selecionado, que se
resumem na Suite Infantil n. 3 e nas Miniaturas I, II, III, IV, V e VI.
Palavras-chave: César-Guerra-Peixe; Repertório didático; piano; Música Brasileira para piano.
César Guerra-Peixe’s instructional works for piano – a brief technical,
stylistic and musical analysis of his compositions form 1968 to 1981
Abstract
In this paper, I investigate in the César Guerra-Peixe’s works for piano, composed from 1968 to
1981, the main pedagogical aspects contextualizing them in the composer’s stylistic stage, frequently named
as “Nationalistic”. Besides the 3 Piano Suites named “for children”, the Brazilian composer also wrote many
other works for this instrument that may fit in the elementary or Intermediate level (such as the frankly
pedagogical works as the Minúsculas I,II,III,IV,V and VI and the not named pedagogical Bagatelles). In this
paper, my focus is on these works that were composed between 1968 and 1981. In order to do so, makes
use of the literature on technical problems and challenges in piano pieces, particularly those focused on
the already mentioned basic and intermediate levels. As conclusion, it was enumerated the most frequent
technical problems found in the selected repertoire which contains the works Suite Infantil n. 3 and the
Miniaturas I, II, III, IV, V e VI.
Keywords: César-Guerra-Peixe; Pedagogical works for piano; Brazilian music for piano.
Abertura em Ré do padre José Maurício Nunes Garcia. A partir da análise, percebe-se a forma como o
compositor manipulou, reordenou e fundiu essas Schemata, demonstrando habilidade e profundo
conhecimento de suas funções formais e seu locus, sendo assim capaz de articular-se fluentemente no
estilo “galante napolitano”. Como conclusão, posiciono a obra objeto desta pesquisa francamente
dentro do estilo galante em virtude de suas marcantes características e destaco os recursos expressivos
de grande inventividade e criatividade demonstrados pelo compositor brasileiro nesta obra.
Palavras-chave: Abertura em Ré. Padre José Maurício Nunes Garcia. Estilo galante. Schemata.
Musical Schemata and Its Use as a Compositional Tool in Overture in D Major by
Father José Maurício Nunes Garcia
Abstract: In this paper I investigate the use of Schemata (as proposed by Robert Gjerdingen) in
the Overture in D Major by Father José Maurício Nunes Garcia. From the analysis, one sees the
way Garcia manipulated, reordered, and fused these Schemata, displaying skill and in-depth
knowledge of their formal functions and locus, reflecting his mature capacity for expressing
himself musically in the so-called “Neapolitan Galant Style”. As a conclusion, I position the piece
frankly within the Galant style because of its remarkable characteristics and highlight the
significant resources of inventiveness and creativity displayed by the Brazilian composer of this
work.
Keywords: Overture in D Major; Father José Maurício Nunes Garcia; Galant Style; Schemata.
Palavras chave: Sinfonia Fúnebre (1790) – Padre José Maurício Nunes Garcia – Estilo Galante – Schemata.
Abstract: In this work I investigate the use in Father José Maurício Nunes Garcia’s Sinfonia Fúnebre (1790) of what the American musicologist Robert Gjerdongen calls Schemata. According to Gjerdingen, Schemata are abstract structures that were part of the Galant Style, either in Central Europe as in the Colonies, as Brazil is the case. In order to do so, I make a brief overview of the editions available for analysis; review of the Schemata concept in Gjerdingen and other authoritative authors; elaborate a table that articulates form, tonality, Schemata bar by bar; and last, exemplify the use of this Schemata in musical excerpts of the work. I conclude that the systematic and very sophisticated use of the Schemata by the Brazilian composer demonstrates that he is by no means just a mere imitator of the Galant Style, but instead, a great master of thisidiom and capable to organize the Schemata at his will to fulfill his expressive needs as it is the case in this Sinfonia Funebre.
Keywords: Sinfonia Fúnebre (1790) – Father José Maurício Nunes Garcia – Galant Style – Schemata.
compositor César-Guerra-Peixe, delimitada entre os anos de 1942 e 1949, contextualizando-os em suas
fases estéticas. Para tal, além de utilizar a mais frequente divisão de seus períodos composicionais,
elaboro uma tabela com base na literatura sobre os graus de dificuldade técnica de obras pianísticas
com destaque para o nível básico e intermediário. Como conclusão, elenco as dificuldades técnicas mais
frequentemente encontradas no repertório selecionado.
Palavras-chave: César-Guerra-Peixe; Repertório didático para piano; Música Brasileira para piano.
Abstract: In this paper I investigate in César Guerra-Peixe’s works for piano composed from 1942 to
1949 the main pedagogical aspects contextualizing them in the composer’s stylistic stages. In order to
do so, I utilize the most frequent division in phases on Guerra-Peixe’s chronology and the literature on
technical problems and challenges in piano pieces, particularly on basic and intermediate levels. As a
conclusion I enumerate the most frequent technical problems in the selected repertoire.
Keywords: César-Guerra-Peixe, Pedagogical Works for Piano, Brazilian Music for Piano.
além do escopo do sistema tonal e de problemas cotidianos no ofício da composição musical, a saber: a harmonização de uma linha melódica qualquer.
Palavras-chave: Fundamentos da Composição Musical, Arnold Schoenberg, ensino de composição.
Abstract: Starting with an analysis of the methodology employed by Schoenberg in his Fundamentals of Musical Composition, we discuss the main technical devices necessary to teaching of melodic composition, one of the main issues of musical composition. Essentially, the Schoenberguian approach emphasizes the harmonic parameter over the melodic one thus over-empowering the first parameter. Otherwise
fine for certain compositional problems, this approach may seem inappropriate for others, particularly those that challenge the tonal idiom.
Keywords: Fundamentals of Musical Composition, Arnold Schoenberg, instruction in composition.
Palavras-chave: César Guerra-Peixe; Paul Hindemith; ensino de composição; composição de melodias.
Abstract: In this paper, we investigate the methodological premises that support Cesar Guerra-Peixe’s Melos e Harmonia Acústica 1988. Seeking to elucidate the conceptual references found in Melos’ bibliography, outlining Paul Hindemith’s The Craft of Musical Composition, it proposes a dialogue between the work and other authors, be them present or not in the bibliography, in order to contextualize Guerra-Peixe’s teaching methodology, aiming to understand its qualities and limitations.
Keywords: César Guerra-Peixe; Paul Hindemith; musical composition training; melodic line composition.
Palavras-chave: Drei Lieder op.25 de Anton Webern, Hildegard Jone. Serialismo. Hermenêutica musical.
Wie bin ich froh! op. 25 nº 1 for Voice and Piano of Anton Webern. Possible associations on text, structure and series-forms employed in the song – hermeneutical windows
Abstract: This work has as its main purpose the elucidation of the relations found in the choice by Anton Webern of the twelve tone row series forms used in his song Wie bin Ich Froh! op.25 nº 1 for Voice and Piano written in the years 1934/1935 on texts by Hildegard Jone (1891-1963). This choice of a restricted number of forms (four among forty eight possible) strongly suggests a ternary structural division, a fact that may be confirmed by an analysis of the row material and its distribution among the structural framework of the piece. From this conclusion we try to establish a dialogue with Lawrence Kramer’s concept of Hermeneutical Windows to understand the disposition of the series forms in the work.
Keywords: Drei Lieder op.25 of Anton Webern, Hidegard Jone, Serialism, Musical Hermeneutics.
Abstract: This communication aims to establish a dialogue between two approaches on the topic Significance in Music: Lawrence Zbikowski's Cross Domain Maps and Lawrence Kramer's Hermeneutical Windows. After we describe both concepts we seek to find similarities between them in order to present a powerfull analytical tool to be used by those who are interested in the meaning of the musical text.
Abstract: The present study aims at a brief analysis of the formal and harmonic aspects of former Russian composer Alexander Scriabin in order to elucidate some of his procedures in using the so called " Prometheus Chord " in his late style. The works chosen for this research are Désir op. 57 nº 1 (1908) and the Prelude op. 74 nº 1 (1914), both composed for piano solo. They illustrate many of the characteristic techniques employed by the composer in his late style, both at the beginning (1908) and at the end (1914) and provide relevant data of how he treated the formal and harmonic matters towards a progressive renunciation of tonality.
Abstract: This paper analyses the relations between form and Schemata in Wolfgang Amadeus Mozart’s E Minor Violin Sonata K304 (1778). Since this work is the composer’s sole composition in this genre in minor mode and has been attributed with remarkable expressive features once it was conceived during his travel to Mannheim, Munich and Paris – travel that coincide with his mother death – it’s compositional strategies and process are of particular interest. For this reason, through an approach via the Musical Schema concept, we seek to establish logical relations between the composer’s choice for Schemata disposition, form and unity in the work. We conclude that the eitherreiteration of internal variation process (especially increasing chromatism) in the Schema as the sharing of a set of Schemata on both movements of the work not only support the motivical but also the textural and aural unity, displaying aspects yet not much explored in the compositional process of this First Vienna School master.
Palavras-chave: Sonata para Violino e Piano em Mi Menor K304 – Wolfgang Amadeus Mozart – Schemata – Sonata – Estilo Galante.
Keywords: Violin and Piano Sonata in E Minor K304 – Wolfgang Amadeus Mozart – Schemata – Sonata – Galant Style.
Empréstimo, Simulação e Modelagem de Leonard Meyer verificar se o compositor brasileiro
Cláudio Santoro, em seu itinerário por suas fases estilísticas, se utilizou da tradição.
Observando as duas Sonatas para piano da década de 50 pode-se estabelecer uma relação
clara entre os processos propostos por Meyer e as técnicas composicionais empregadas por
Santoro.
Palavras-chave: Claudio Santoro; Leonard Meyer; Sonatas para Piano.
Abstract: This work seeks through a review of the concepts of Paraphrase, Simulation,
Borrowing and Modeling proposed by Leonard Meyer, to verify if the Brazilian composer
Claudio Santoro in his path through his many styles has made use of tradition. Observing
his two piano sonatas of the 50s we may be able to establish a clear relation between the
processes proposed by Meyer and the technical approach used by Santoro.
Keywords: Claudio Santoro; Leonard Meyer; Piano Sonata.
O presente trabalho investiga aspectos técnicos e didáticos, na produção para piano do compositor
César Guerra-Peixe, delimitada entre os anos de 1968 e 1981 contextualizando-os em sua fase estética
denominada nacionalista. Além de 3 suítes para piano denominadas “Infantis”, que trespassam as principais
fases de sua produção estilística, o compositor brasileiro escreveu um considerável número de peças (algumas
inclusive com o franco objetivo didático como as Minúsculas) para piano, que podem ser classificadas em
nível de dificuldade elementar e intermediário. Para tal tarefa, elaborou-se uma tabela com base na literatura
sobre os graus de dificuldade técnica de obras pianísticas, com destaque para esses níveis. Como conclusão,
citaram-se as dificuldades técnicas mais frequentemente encontradas no repertório selecionado, que se
resumem na Suite Infantil n. 3 e nas Miniaturas I, II, III, IV, V e VI.
Palavras-chave: César-Guerra-Peixe; Repertório didático; piano; Música Brasileira para piano.
César Guerra-Peixe’s instructional works for piano – a brief technical,
stylistic and musical analysis of his compositions form 1968 to 1981
Abstract
In this paper, I investigate in the César Guerra-Peixe’s works for piano, composed from 1968 to
1981, the main pedagogical aspects contextualizing them in the composer’s stylistic stage, frequently named
as “Nationalistic”. Besides the 3 Piano Suites named “for children”, the Brazilian composer also wrote many
other works for this instrument that may fit in the elementary or Intermediate level (such as the frankly
pedagogical works as the Minúsculas I,II,III,IV,V and VI and the not named pedagogical Bagatelles). In this
paper, my focus is on these works that were composed between 1968 and 1981. In order to do so, makes
use of the literature on technical problems and challenges in piano pieces, particularly those focused on
the already mentioned basic and intermediate levels. As conclusion, it was enumerated the most frequent
technical problems found in the selected repertoire which contains the works Suite Infantil n. 3 and the
Miniaturas I, II, III, IV, V e VI.
Keywords: César-Guerra-Peixe; Pedagogical works for piano; Brazilian music for piano.
Abertura em Ré do padre José Maurício Nunes Garcia. A partir da análise, percebe-se a forma como o
compositor manipulou, reordenou e fundiu essas Schemata, demonstrando habilidade e profundo
conhecimento de suas funções formais e seu locus, sendo assim capaz de articular-se fluentemente no
estilo “galante napolitano”. Como conclusão, posiciono a obra objeto desta pesquisa francamente
dentro do estilo galante em virtude de suas marcantes características e destaco os recursos expressivos
de grande inventividade e criatividade demonstrados pelo compositor brasileiro nesta obra.
Palavras-chave: Abertura em Ré. Padre José Maurício Nunes Garcia. Estilo galante. Schemata.
Musical Schemata and Its Use as a Compositional Tool in Overture in D Major by
Father José Maurício Nunes Garcia
Abstract: In this paper I investigate the use of Schemata (as proposed by Robert Gjerdingen) in
the Overture in D Major by Father José Maurício Nunes Garcia. From the analysis, one sees the
way Garcia manipulated, reordered, and fused these Schemata, displaying skill and in-depth
knowledge of their formal functions and locus, reflecting his mature capacity for expressing
himself musically in the so-called “Neapolitan Galant Style”. As a conclusion, I position the piece
frankly within the Galant style because of its remarkable characteristics and highlight the
significant resources of inventiveness and creativity displayed by the Brazilian composer of this
work.
Keywords: Overture in D Major; Father José Maurício Nunes Garcia; Galant Style; Schemata.
Palavras chave: Sinfonia Fúnebre (1790) – Padre José Maurício Nunes Garcia – Estilo Galante – Schemata.
Abstract: In this work I investigate the use in Father José Maurício Nunes Garcia’s Sinfonia Fúnebre (1790) of what the American musicologist Robert Gjerdongen calls Schemata. According to Gjerdingen, Schemata are abstract structures that were part of the Galant Style, either in Central Europe as in the Colonies, as Brazil is the case. In order to do so, I make a brief overview of the editions available for analysis; review of the Schemata concept in Gjerdingen and other authoritative authors; elaborate a table that articulates form, tonality, Schemata bar by bar; and last, exemplify the use of this Schemata in musical excerpts of the work. I conclude that the systematic and very sophisticated use of the Schemata by the Brazilian composer demonstrates that he is by no means just a mere imitator of the Galant Style, but instead, a great master of thisidiom and capable to organize the Schemata at his will to fulfill his expressive needs as it is the case in this Sinfonia Funebre.
Keywords: Sinfonia Fúnebre (1790) – Father José Maurício Nunes Garcia – Galant Style – Schemata.
compositor César-Guerra-Peixe, delimitada entre os anos de 1942 e 1949, contextualizando-os em suas
fases estéticas. Para tal, além de utilizar a mais frequente divisão de seus períodos composicionais,
elaboro uma tabela com base na literatura sobre os graus de dificuldade técnica de obras pianísticas
com destaque para o nível básico e intermediário. Como conclusão, elenco as dificuldades técnicas mais
frequentemente encontradas no repertório selecionado.
Palavras-chave: César-Guerra-Peixe; Repertório didático para piano; Música Brasileira para piano.
Abstract: In this paper I investigate in César Guerra-Peixe’s works for piano composed from 1942 to
1949 the main pedagogical aspects contextualizing them in the composer’s stylistic stages. In order to
do so, I utilize the most frequent division in phases on Guerra-Peixe’s chronology and the literature on
technical problems and challenges in piano pieces, particularly on basic and intermediate levels. As a
conclusion I enumerate the most frequent technical problems in the selected repertoire.
Keywords: César-Guerra-Peixe, Pedagogical Works for Piano, Brazilian Music for Piano.
além do escopo do sistema tonal e de problemas cotidianos no ofício da composição musical, a saber: a harmonização de uma linha melódica qualquer.
Palavras-chave: Fundamentos da Composição Musical, Arnold Schoenberg, ensino de composição.
Abstract: Starting with an analysis of the methodology employed by Schoenberg in his Fundamentals of Musical Composition, we discuss the main technical devices necessary to teaching of melodic composition, one of the main issues of musical composition. Essentially, the Schoenberguian approach emphasizes the harmonic parameter over the melodic one thus over-empowering the first parameter. Otherwise
fine for certain compositional problems, this approach may seem inappropriate for others, particularly those that challenge the tonal idiom.
Keywords: Fundamentals of Musical Composition, Arnold Schoenberg, instruction in composition.
Palavras-chave: César Guerra-Peixe; Paul Hindemith; ensino de composição; composição de melodias.
Abstract: In this paper, we investigate the methodological premises that support Cesar Guerra-Peixe’s Melos e Harmonia Acústica 1988. Seeking to elucidate the conceptual references found in Melos’ bibliography, outlining Paul Hindemith’s The Craft of Musical Composition, it proposes a dialogue between the work and other authors, be them present or not in the bibliography, in order to contextualize Guerra-Peixe’s teaching methodology, aiming to understand its qualities and limitations.
Keywords: César Guerra-Peixe; Paul Hindemith; musical composition training; melodic line composition.
Palavras-chave: Drei Lieder op.25 de Anton Webern, Hildegard Jone. Serialismo. Hermenêutica musical.
Wie bin ich froh! op. 25 nº 1 for Voice and Piano of Anton Webern. Possible associations on text, structure and series-forms employed in the song – hermeneutical windows
Abstract: This work has as its main purpose the elucidation of the relations found in the choice by Anton Webern of the twelve tone row series forms used in his song Wie bin Ich Froh! op.25 nº 1 for Voice and Piano written in the years 1934/1935 on texts by Hildegard Jone (1891-1963). This choice of a restricted number of forms (four among forty eight possible) strongly suggests a ternary structural division, a fact that may be confirmed by an analysis of the row material and its distribution among the structural framework of the piece. From this conclusion we try to establish a dialogue with Lawrence Kramer’s concept of Hermeneutical Windows to understand the disposition of the series forms in the work.
Keywords: Drei Lieder op.25 of Anton Webern, Hidegard Jone, Serialism, Musical Hermeneutics.
Abstract: This communication aims to establish a dialogue between two approaches on the topic Significance in Music: Lawrence Zbikowski's Cross Domain Maps and Lawrence Kramer's Hermeneutical Windows. After we describe both concepts we seek to find similarities between them in order to present a powerfull analytical tool to be used by those who are interested in the meaning of the musical text.
Abstract: The present study aims at a brief analysis of the formal and harmonic aspects of former Russian composer Alexander Scriabin in order to elucidate some of his procedures in using the so called " Prometheus Chord " in his late style. The works chosen for this research are Désir op. 57 nº 1 (1908) and the Prelude op. 74 nº 1 (1914), both composed for piano solo. They illustrate many of the characteristic techniques employed by the composer in his late style, both at the beginning (1908) and at the end (1914) and provide relevant data of how he treated the formal and harmonic matters towards a progressive renunciation of tonality.