Relações entre viola erudita e canto lírico: aproximações interpretativas históricas aplicadas ao repertório do instrumento
Autor(a) principal: | |
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Data de Publicação: | 2012 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Repositório Institucional da UFG |
Texto Completo: | http://repositorio.bc.ufg.br/tede/handle/tede/3216 |
Resumo: | The present work intends to investigate the contributions that the universe of vocal performance, especially in its interpretive and expressive aspects, can offer to the activity of the stringed instrument player, more specifically to the violist, therefore approximating again two practices that were closely related in other historical periods. Up to certain part of the romantic period, we can notice a strong relation between instrumental interpretation and lyrical singing, and between the former and other practical elements related to music and to singing, such as rhetoric and oratory. Through centuries, music was treated as a discourse, and expressiveness, or the way in which notes were “pronounced”, was sought after and explored in a significant manner. Therefore, through a bibliographical research, the first part of this paper presents the close relation through history between performance on instruments and voice, and between viola and singing. Thus, it is noticed that the voice which is manipulated in singing and oratory has many expressive elements to be considered and even imitated. Then, one considers the specific context of the viola and its path since its beginnings until today, also in regard to the influence of the singing. The second part is formed by the analysis of some musical interpretation principles that highlight the expressiveness from vocal model, which are extracted from treatises used today as guide to singing performance. To these instructions are added some approaches to singing made by some string methods’ and treatise’s authors through history, all conformable and pertinent to the viola interpretation. And in order to demonstrate the use of these principles, interpretative suggestions are made for excerpts from the viola repertoire from different styles and periods. |
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Dias, Ângelo de Oliveirahttp://lattes.cnpq.br/3517784794340646Dias, Ângelo de OliveiraBiaggi, Emerson deCosta, Carlos HenriqueGaioso, Marshalhttp://lattes.cnpq.br/3244075589957444Faria, Cindy Folly2014-09-29T21:40:55Z2012-04-16FARIA, Cindy Folly. Relações entre viola erudita e canto lírico: aproximações interpretativas históricas aplicadas ao repertório do instrumento. 2012. 69 f. Dissertação (Mestrado em Música) - Universidade Federal de Goiás, Goiânia, 2012.http://repositorio.bc.ufg.br/tede/handle/tede/3216ark:/38995/0013000009nczThe present work intends to investigate the contributions that the universe of vocal performance, especially in its interpretive and expressive aspects, can offer to the activity of the stringed instrument player, more specifically to the violist, therefore approximating again two practices that were closely related in other historical periods. Up to certain part of the romantic period, we can notice a strong relation between instrumental interpretation and lyrical singing, and between the former and other practical elements related to music and to singing, such as rhetoric and oratory. Through centuries, music was treated as a discourse, and expressiveness, or the way in which notes were “pronounced”, was sought after and explored in a significant manner. Therefore, through a bibliographical research, the first part of this paper presents the close relation through history between performance on instruments and voice, and between viola and singing. Thus, it is noticed that the voice which is manipulated in singing and oratory has many expressive elements to be considered and even imitated. Then, one considers the specific context of the viola and its path since its beginnings until today, also in regard to the influence of the singing. The second part is formed by the analysis of some musical interpretation principles that highlight the expressiveness from vocal model, which are extracted from treatises used today as guide to singing performance. To these instructions are added some approaches to singing made by some string methods’ and treatise’s authors through history, all conformable and pertinent to the viola interpretation. And in order to demonstrate the use of these principles, interpretative suggestions are made for excerpts from the viola repertoire from different styles and periods.Este trabalho se propõe a investigar as contribuições que o universo da performance vocal, notadamente seus aspectos interpretativos e expressivos, podem oferecer à atuação do instrumentista de cordas, especificamente ao violista, reaproximando assim duas práticas que estiveram bastante próximas em outros períodos da história. Até parte do período romântico, percebe-se uma relação muito intensa entre interpretação instrumental e canto lírico, e entre aquela e outros elementos práticos ligados à música e ao canto, como retórica e oratória. Durante séculos, a música era tratada como um discurso e a expressividade, ou a maneira como eram “pronunciadas” as notas, era buscada e explorada de maneira significativa. Dessa forma, através de pesquisa bibliográfica, a primeira parte deste trabalho apresenta a proximidade interpretativa que houve pela história entre instrumentos e canto, e viola e canto. Assim, é percebido que a voz manipulada no canto e na oratória possui muitos elementos de expressividade a serem observados e até mesmo imitados. Considera-se, em seguida, o contexto específico da viola e o caminho desenvolvido por ela desde seus primórdios até hoje, também de acordo com a influência do canto. A segunda parte é composta da análise de alguns princípios musicais interpretativos que evidenciam a expressividade a partir do modelo vocal, extraídos dos tratados utilizados atualmente como guia para a performance do canto. A essas instruções também são agregadas aproximações com o canto que alguns autores de métodos e tratados de cordas já fizeram ao longo das épocas, todas compatíveis e pertinentes à interpretação na viola. E para que a aplicação destes princípios possa ser demonstrada, são apresentadas sugestões interpretativas para trechos do repertório da viola de diferentes estilos e períodos.Submitted by Erika Demachki (erikademachki@gmail.com) on 2014-09-29T21:36:38Z No. of bitstreams: 2 Faria,CINDY FOLLY - dissertação - 2012.pdf: 451798 bytes, checksum: c0c6b451be0b3a78f83d441bb8ec1c6e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2014-09-29T21:40:55Z (GMT) No. of bitstreams: 2 Faria,CINDY FOLLY - dissertação - 2012.pdf: 451798 bytes, checksum: c0c6b451be0b3a78f83d441bb8ec1c6e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)Made available in DSpace on 2014-09-29T21:40:55Z (GMT). No. of bitstreams: 2 Faria,CINDY FOLLY - dissertação - 2012.pdf: 451798 bytes, checksum: c0c6b451be0b3a78f83d441bb8ec1c6e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2012-04-16Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPqapplication/pdfhttp://repositorio.bc.ufg.br/tede/retrieve/8938/Faria%2cCINDY%20FOLLY%20-%20disserta%c3%a7%c3%a3o%20-%202012.pdf.jpgporUniversidade Federal de GoiásPrograma de Pós-graduação em Musica (EMAC)UFGBrasilEscola de Música e Artes Cênicas - EMAC (RG)BACH, Carl Philipp Emanuel. Versuch über die wahre Art das Clavier zu spielen, vol. I. Berlin: Christian Friedrich Senning, 1753. _____________________. Essay on the True Art of Playing Keyboard Instruments. Trad. William J. Mitchell. New York: W. W. Norton and Company, 1949. BARNES, Gregory (Ed.). Playing and Teaching the Viola: A Comprehensive Guide to the Central Clef Instrument and Its Music. Fairfax: American String Teachers Association, 2005. BARRETT, Henry. The Viola: Complete Guide for Teachers and Students. Tuscaloosa: The University of Alabama Press, 1978. BÉRIOT, Charles Auguste de, Method for the Violin. Trad. George Lehmann. New York: G. Schirmer, 1899. BERLIOZ, H. Treatise on Instrumentation. Ed. e anotado por R. Strauss. Trad. Theodore Front. New York: Dover, 1991. BLUM, David. Casals, et l’Art de l’Interpretation. Paris: Édition Buchet, 1980. _____________. The Art of Quartet Playing. The Guarnieri Quartet in conversation with David Blum. New York: Alfred Knopf, 1986. BOYDEN, David D. The History of violin playing from its origins to 1761 and its relationship to the violin and violin music. New York: Oxford University Press, 1990. DALTON, David. Playing the Viola: Conversations with William Primrose. Oxford: Oxford University Press, 1988. FORKEL, Johann N. Johann Sebastian Bach: his Life, Art and Work. Trad. Charles S. Terry. London: Constable and Company, 1920. GALAMIAN, Ivan. Principles of violin playing and teaching. Ann Arbor: Shar Products, 1985. GEMINIANI, Francesco. The Art of Playing on the Violin. London, 1751. HARNONCOURT, Nikolaus. O Discurso dos Sons – Caminhos para Uma Nova Compreensão Musical. Trad. Marcelo Fagerlande. Rio de Janeiro: Jorge Zahar Ed., 1988. _____________________. O Diálogo Musical: Monteverdi, Bach e Mozart. Trad. Luiz Paulo Sampaio. Rio de Janeiro: Jorge Zahar Ed., 1993. HILLER, Johann A. Treatise on Vocal Performance and Ornamentation. Trad. Suzanne J. Beicken. Cambridge: Cambridge University Press, 2004. 65 JOACHIM, Joseph; MOSER, Andreas. Violin School. Trad. Alfred Moffat. Berlin: N. Simrock, 1905. KUBALA, Ricardo Lobo. A escrita para viola nas Sonatas com piano op. 11 nº 4 e op. 25 nº 4 de Paul Hindemith: aspectos idiomáticos, estilísticos e interpretativos. 2004. 123 f. Dissertação (Mestrado em Música) – Instituto de Artes, UNICAMP, Campinas, 2004. ___________________. O concerto para viola e orquestra de Antônio Borges-Cunha: a obra e uma interpretação. 2009. 262 f. Tese (Doutorado em Música) – Instituto de Artes, UNICAMP, Campinas, 2009. LAINÉ, FRÉDÉRIC. L’Alto. Anne Fuzeau Productions: Bressuire, 2010. LAWSON, Colin; STOWELL, Robin. The Historical Performance of Music: An Introduction. Cambridge: Cambridge University Press (Virtual Publishing), 2003. LENNEBERG, Hans; MATTHESON Johann. Johann Mattheson on Affect and Rhetoric in Music (I). Journal of Music Theory. Yale, Vol. 2, No. 1, pp. 47-84, 1958. MATTHESON, Johann. Der Vollkommene Capellmeister. Trad. Ernest C. Harriss. Ann Arbor: UMI Research Press, 1981. MENUHIN, Yehudi; PRIMROSE, William. Violin and Viola. New York: Schirmer Books, 1976. MONTEVERDI, Claudio. Madrigals, Book VIII: Madrigali Guerriei et Amorosi. Ed. Stanley Appelbaum. New York: Dover, 1991. MOZART, Leopold. A treatise on the fundamental principles on violin playing. Trad. Editha Knocker. Oxford : Oxford University Press, 1985. QUANTZ, Johann Joachim. Essai d’une méthode pour apprendre à jouer de la flûte traversière, avec plusieurs remarques pour servir au bon goût dans la musique. Trad. Francesa. Berlin: Cheretien Frederic Voss, 1752. SPOHR, Louis. Violin School. Trad. John Bishop. London: R, Cocks & Cº., 1843. STOWELL, Robin. The Early Violin and Viola. A Pratical Guide. Cambridge: Cambridge University Press, 2004. TERTIS, Lionel. My Viola and I. London: Elek Books, 1974. TOSI, Francesco. Observations on the Florid Song; or, Sentiments on the Modern Singers. Trad. Mr. Galliard. London: J. Wilcox, 1743. WHITE, John. Lionel Tertis: The First great Virtuoso of the Viola. 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dc.title.por.fl_str_mv |
Relações entre viola erudita e canto lírico: aproximações interpretativas históricas aplicadas ao repertório do instrumento |
dc.title.alternative.eng.fl_str_mv |
Relations between viola and singing: historical interpretative approaches applied to the instrument's repertoire |
title |
Relações entre viola erudita e canto lírico: aproximações interpretativas históricas aplicadas ao repertório do instrumento |
spellingShingle |
Relações entre viola erudita e canto lírico: aproximações interpretativas históricas aplicadas ao repertório do instrumento Faria, Cindy Folly Viola erudita Canto lírico Relações interpretativas Sing Viola Interpretative relations MUSICA::CANTO |
title_short |
Relações entre viola erudita e canto lírico: aproximações interpretativas históricas aplicadas ao repertório do instrumento |
title_full |
Relações entre viola erudita e canto lírico: aproximações interpretativas históricas aplicadas ao repertório do instrumento |
title_fullStr |
Relações entre viola erudita e canto lírico: aproximações interpretativas históricas aplicadas ao repertório do instrumento |
title_full_unstemmed |
Relações entre viola erudita e canto lírico: aproximações interpretativas históricas aplicadas ao repertório do instrumento |
title_sort |
Relações entre viola erudita e canto lírico: aproximações interpretativas históricas aplicadas ao repertório do instrumento |
author |
Faria, Cindy Folly |
author_facet |
Faria, Cindy Folly |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Dias, Ângelo de Oliveira |
dc.contributor.advisor1Lattes.fl_str_mv |
http://lattes.cnpq.br/3517784794340646 |
dc.contributor.referee1.fl_str_mv |
Dias, Ângelo de Oliveira |
dc.contributor.referee2.fl_str_mv |
Biaggi, Emerson de |
dc.contributor.referee3.fl_str_mv |
Costa, Carlos Henrique |
dc.contributor.referee4.fl_str_mv |
Gaioso, Marshal |
dc.contributor.authorLattes.fl_str_mv |
http://lattes.cnpq.br/3244075589957444 |
dc.contributor.author.fl_str_mv |
Faria, Cindy Folly |
contributor_str_mv |
Dias, Ângelo de Oliveira Dias, Ângelo de Oliveira Biaggi, Emerson de Costa, Carlos Henrique Gaioso, Marshal |
dc.subject.por.fl_str_mv |
Viola erudita Canto lírico Relações interpretativas |
topic |
Viola erudita Canto lírico Relações interpretativas Sing Viola Interpretative relations MUSICA::CANTO |
dc.subject.eng.fl_str_mv |
Sing Viola Interpretative relations |
dc.subject.cnpq.fl_str_mv |
MUSICA::CANTO |
description |
The present work intends to investigate the contributions that the universe of vocal performance, especially in its interpretive and expressive aspects, can offer to the activity of the stringed instrument player, more specifically to the violist, therefore approximating again two practices that were closely related in other historical periods. Up to certain part of the romantic period, we can notice a strong relation between instrumental interpretation and lyrical singing, and between the former and other practical elements related to music and to singing, such as rhetoric and oratory. Through centuries, music was treated as a discourse, and expressiveness, or the way in which notes were “pronounced”, was sought after and explored in a significant manner. Therefore, through a bibliographical research, the first part of this paper presents the close relation through history between performance on instruments and voice, and between viola and singing. Thus, it is noticed that the voice which is manipulated in singing and oratory has many expressive elements to be considered and even imitated. Then, one considers the specific context of the viola and its path since its beginnings until today, also in regard to the influence of the singing. The second part is formed by the analysis of some musical interpretation principles that highlight the expressiveness from vocal model, which are extracted from treatises used today as guide to singing performance. To these instructions are added some approaches to singing made by some string methods’ and treatise’s authors through history, all conformable and pertinent to the viola interpretation. And in order to demonstrate the use of these principles, interpretative suggestions are made for excerpts from the viola repertoire from different styles and periods. |
publishDate |
2012 |
dc.date.issued.fl_str_mv |
2012-04-16 |
dc.date.accessioned.fl_str_mv |
2014-09-29T21:40:55Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/masterThesis |
format |
masterThesis |
status_str |
publishedVersion |
dc.identifier.citation.fl_str_mv |
FARIA, Cindy Folly. Relações entre viola erudita e canto lírico: aproximações interpretativas históricas aplicadas ao repertório do instrumento. 2012. 69 f. Dissertação (Mestrado em Música) - Universidade Federal de Goiás, Goiânia, 2012. |
dc.identifier.uri.fl_str_mv |
http://repositorio.bc.ufg.br/tede/handle/tede/3216 |
dc.identifier.dark.fl_str_mv |
ark:/38995/0013000009ncz |
identifier_str_mv |
FARIA, Cindy Folly. Relações entre viola erudita e canto lírico: aproximações interpretativas históricas aplicadas ao repertório do instrumento. 2012. 69 f. Dissertação (Mestrado em Música) - Universidade Federal de Goiás, Goiânia, 2012. ark:/38995/0013000009ncz |
url |
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BACH, Carl Philipp Emanuel. Versuch über die wahre Art das Clavier zu spielen, vol. I. Berlin: Christian Friedrich Senning, 1753. _____________________. Essay on the True Art of Playing Keyboard Instruments. Trad. William J. Mitchell. New York: W. W. Norton and Company, 1949. BARNES, Gregory (Ed.). Playing and Teaching the Viola: A Comprehensive Guide to the Central Clef Instrument and Its Music. Fairfax: American String Teachers Association, 2005. BARRETT, Henry. The Viola: Complete Guide for Teachers and Students. Tuscaloosa: The University of Alabama Press, 1978. BÉRIOT, Charles Auguste de, Method for the Violin. Trad. George Lehmann. New York: G. Schirmer, 1899. BERLIOZ, H. Treatise on Instrumentation. Ed. e anotado por R. Strauss. Trad. Theodore Front. New York: Dover, 1991. BLUM, David. Casals, et l’Art de l’Interpretation. Paris: Édition Buchet, 1980. _____________. The Art of Quartet Playing. The Guarnieri Quartet in conversation with David Blum. New York: Alfred Knopf, 1986. BOYDEN, David D. The History of violin playing from its origins to 1761 and its relationship to the violin and violin music. New York: Oxford University Press, 1990. DALTON, David. Playing the Viola: Conversations with William Primrose. Oxford: Oxford University Press, 1988. FORKEL, Johann N. Johann Sebastian Bach: his Life, Art and Work. Trad. Charles S. Terry. London: Constable and Company, 1920. GALAMIAN, Ivan. Principles of violin playing and teaching. Ann Arbor: Shar Products, 1985. GEMINIANI, Francesco. The Art of Playing on the Violin. London, 1751. HARNONCOURT, Nikolaus. O Discurso dos Sons – Caminhos para Uma Nova Compreensão Musical. Trad. Marcelo Fagerlande. Rio de Janeiro: Jorge Zahar Ed., 1988. _____________________. O Diálogo Musical: Monteverdi, Bach e Mozart. Trad. Luiz Paulo Sampaio. Rio de Janeiro: Jorge Zahar Ed., 1993. HILLER, Johann A. Treatise on Vocal Performance and Ornamentation. Trad. Suzanne J. Beicken. Cambridge: Cambridge University Press, 2004. 65 JOACHIM, Joseph; MOSER, Andreas. Violin School. Trad. Alfred Moffat. Berlin: N. Simrock, 1905. KUBALA, Ricardo Lobo. A escrita para viola nas Sonatas com piano op. 11 nº 4 e op. 25 nº 4 de Paul Hindemith: aspectos idiomáticos, estilísticos e interpretativos. 2004. 123 f. Dissertação (Mestrado em Música) – Instituto de Artes, UNICAMP, Campinas, 2004. ___________________. O concerto para viola e orquestra de Antônio Borges-Cunha: a obra e uma interpretação. 2009. 262 f. Tese (Doutorado em Música) – Instituto de Artes, UNICAMP, Campinas, 2009. LAINÉ, FRÉDÉRIC. L’Alto. Anne Fuzeau Productions: Bressuire, 2010. LAWSON, Colin; STOWELL, Robin. The Historical Performance of Music: An Introduction. Cambridge: Cambridge University Press (Virtual Publishing), 2003. LENNEBERG, Hans; MATTHESON Johann. Johann Mattheson on Affect and Rhetoric in Music (I). Journal of Music Theory. Yale, Vol. 2, No. 1, pp. 47-84, 1958. MATTHESON, Johann. Der Vollkommene Capellmeister. Trad. Ernest C. Harriss. Ann Arbor: UMI Research Press, 1981. MENUHIN, Yehudi; PRIMROSE, William. Violin and Viola. New York: Schirmer Books, 1976. MONTEVERDI, Claudio. Madrigals, Book VIII: Madrigali Guerriei et Amorosi. Ed. Stanley Appelbaum. New York: Dover, 1991. MOZART, Leopold. A treatise on the fundamental principles on violin playing. Trad. Editha Knocker. Oxford : Oxford University Press, 1985. QUANTZ, Johann Joachim. Essai d’une méthode pour apprendre à jouer de la flûte traversière, avec plusieurs remarques pour servir au bon goût dans la musique. Trad. Francesa. Berlin: Cheretien Frederic Voss, 1752. SPOHR, Louis. Violin School. Trad. John Bishop. London: R, Cocks & Cº., 1843. STOWELL, Robin. The Early Violin and Viola. A Pratical Guide. Cambridge: Cambridge University Press, 2004. TERTIS, Lionel. My Viola and I. London: Elek Books, 1974. TOSI, Francesco. Observations on the Florid Song; or, Sentiments on the Modern Singers. Trad. Mr. Galliard. London: J. Wilcox, 1743. WHITE, John. Lionel Tertis: The First great Virtuoso of the Viola. Woodbridge: Boydell Press, 2006. |
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