Três momentos do violão solista em Goiânia

• Autor(a) principal: Silva, Vinicius Maurício Queiróz Hipólito da
• Data de Publicação: 2018
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Institucional da UFG
• dARK ID: ark:/38995/0013000009qc4
• Texto Completo: http://repositorio.bc.ufg.br/tede/handle/tede/8994
• topic: Violão solista em Goiânia; História do violão no Brasil; Estércio Marquez Cunha; Sebastião Martins de Oliveira; Odilon Kneipp Fleury Curado; Guitar solo in Goiânia; History of the guitar in Brazil; Estércio Marquez Cunha; Sebastião Martins de Oliveira; Odilon Kneipp Fleury Curado; ARTES::MUSICA

In preliminary researches we have noticed the existence of a significant tradition of guitar solo in the city of Goiânia still rarely addressed in scientific papers. Thus, the present study presents a historical narrative of this musical practice during the period that covers the end of the 19th century until nowadays. This time frame was split into three stages, defined according to the acute transformations of the guitar solo activity in the city. It was elected for each of these stages one representative composer, Odilon Kneipp Fleury Curado (1898-1980), Sebastião Martins de Oliveira (1911-1977) and Estércio Marquez Cunha (1941-), whose compositions was examined in the last part this research. This research has been divided into four chapters: I – The guitar consolidation process in concert music in Brasil; II – The guitar solo in the city of Goiânia; III – Evaluation and analysis of works and Final considerations. As background of our historical approach we have used the concepts of some authors of Cultural History, such as Bakhtin, Pesavento, Freire and Burke. For the musical analysis, addressed in chapter 3, we have used Nattiez’s theory.