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O Estilo indígena de Villa Lobos (Parte II): aspectos rítmicos, texturais, potencial significante e tópicas indígenas The Indian Style of Villa-Lobos (Part Two): rhythmic and textural aspects, signifying potential and Indian topics
Gabriel Ferr?o Moreira
Per Musi , 2013,
Abstract: Segunda parte do artigo resultante de minha disserta o de mestrado, que trata da representa o musical do índio brasileiro na composi o de Heitor Villa-Lobos. Nessa segunda parte, continuo defendendo a existência de um "estilo indígena" coerente e autoreferente na música de Heitor Villa-Lobos. Analiso aspectos rítmicos e texturais desse estilo e, numa abordagem hermenêutica, seu potencial significante. Ao fim, apresento alguns modelos de tópicas indígenas em Villa-Lobos. Second part of the article resulting from my Master's Thesis, which deals with the musical representation of Brazilian Indians in Villa-Lobos's music. In this second part, I continue to defend the existence of a coherent and self-referential Indian Style on Villa-Lobos music, and I observe the signifying potential of rhythmic and textural aspects of this style based on a hermeneutic approach. Finally, some models of Indian topics on Villa-Lobos are presented.
Heitor Villa-Lobos e o ambiente artístico parisiense: convertendo-se em um músico brasileiro
Guérios Paulo Renato
Mana , 2003,
Abstract: Este artigo pretende discutir o regime de funcionamento dos fluxos culturais entre um grande centro e um sistema periférico, tomando como exemplo os ambientes musicais da Fran a e do Brasil na década de 20. As trajetórias de vida de dois personagens, o poeta e pintor francês Jean Cocteau e o compositor brasileiro Heitor Villa-Lobos, s o tomadas como pontos de referência para atingir tal objetivo. A análise do material estudado permite demonstrar como os próprios atores sociais pertencentes à periferia acabam por subordinar-se ao julgamento dos atores sociais do centro, acatando suas defini es a respeito dos critérios que definem a validade interna de suas produ es.
O Estilo indígena de Villa Lobos (Parte I): aspectos melódicos e harm nicos The Indian Style of Villa-Lobos (Part One): melodic and harmonic aspects  [cached]
Gabriel Ferr?o Moreira
Per Musi , 2013,
Abstract: Primeira parte do artigo resultante de minha disserta o de mestrado, que trata da representa o musical do índio brasileiro na composi o de Heitor Villa-Lobos. Nessa primeira parte, apresento quest es sobre aspectos melódicos e harm nicos no que chamo de seu "estilo indígena." Quais os meios musicais objetivos empregados por Villa-Lobos para evocar a figura do índio na memória e na sensibilidade dos ouvintes de seu tempo? Existe um rol de procedimentos composicionais recorrentes nessa constru o sonoro-musical do índio em sua obra? Argumento que há um modo de compor particular de Villa-Lobos quando trata da temática indígena/selvagem, um recorte específico de sua obra: seu "estilo indígena". First part of the article resulting from my Master's Thesis, which deals with the musical representation of Brazilian Indians in Villa-Lobos's music. In this first part, I discuss melodic and harmonic aspects of what I call "indian style". What musical means the composer uses to evoke the figure of the Indians on the memory and sensibility of his audience? Is there a specific collection of recurring musical procedures to portray his ideas of savageness? I argue that Villa-Lobos has a particular way of composing when he deals with the indian/savage thematic on his work, a specific set of his oeuvre: his 'indian style".
Heitor Villa-Lobos e o ambiente artístico parisiense: convertendo-se em um músico brasileiro
Guérios, Paulo Renato;
Mana , 2003, DOI: 10.1590/S0104-93132003000100005
Abstract: this article discusses how the flux of cultural productions between center and periphery works, taking as an example the field of music production in france and brazil in the 1920s. the life trajectories of jean cocteau, french poet and painter, and heitor villa-lobos, a brazilian composer, are taken as reference for the discussion. it is concluded that the social actors in the periphery tend themselves to accept the opinions and judgements of the social actors in the center, taking for granted their definitions on the criteria that validate their productions.
História da educa o musical e a experiência do canto orfe nico no Brasil  [cached]
Wilson Lemos Júnior
Eccos Revista Científica , 2012,
Abstract: The teaching of music was always present during the periods of the history of the Brazilian education, but during the first half of the twentieth century, had a boom especially after the defense of the movement of educators of the new school, as the teachers Fernando de Azevedo and Anísio Teixeira and as the musician and conductor Heitor Villa-Lobos. In this article are discussed the process of recovery and the deployment of teaching music and chorus singing in the Brazilian schools. It tries to analyze the discourse of these characters, their ideas concerning music education, as well as their purposes, their advantages and their relations with the modern school.
Edu Lobo e Carlos Lyra: O Nacional e o Popular na Can o de Protesto (Os Anos 60)
Contier Arnaldo Daraya
Revista Brasileira de História , 1998,
Abstract: Trata-se de um estudo sobre as possíveis conex es entre a can o de protesto (Edu Lobo, Carlos Lyra) e os discursos do CPC durante os anos 60. As cria es artísticas s o analisadas com vistas a captar os vínculos entre o nacional-popular na can o brasileira e o impressionismo (C. Debussy), o cool-jazz (Miles Davis), Rodgers and Hart, Heitor Villa-Lobos (modernismo), Waldemar Henrique.
Haydn, segundo Villa-Lobos: uma análise do 1o movimento do Quarteto de cordas no 7 de Villa-Lobos
Salles, Paulo de Tarso;
Per Musi , 2012, DOI: 10.1590/S1517-75992012000100003
Abstract: this article analyses the 1st movement of villa-lobos' string quartet no 7 and search for possible references to franz haydn's string quartets, as suggested by villa-lobos in conversations with arnaldo estrella.
O Estilo indígena de Villa Lobos (Parte II): aspectos rítmicos, texturais, potencial significante e tópicas indígenas
Moreira, Gabriel Ferr?o;
Per Musi , 2013, DOI: 10.1590/S1517-75992013000100004
Abstract: second part of the article resulting from my master's thesis, which deals with the musical representation of brazilian indians in villa-lobos's music. in this second part, i continue to defend the existence of a coherent and self-referential indian style on villa-lobos music, and i observe the signifying potential of rhythmic and textural aspects of this style based on a hermeneutic approach. finally, some models of indian topics on villa-lobos are presented.
Fatores de coerência nos Choros no 5 ("Alma brasileira"), de H. Villa-Lobos
Assis, Carlos Alberto;
Per Musi , 2009, DOI: 10.1590/S1517-75992009000200008
Abstract: analysis of the compositional processes involved in h. villa-lobos’s choros no. 5 regarding formal, harmonic, rhythmic and melodic aspects and their relation to rhetorical elements (within the concept of musical figures) in order to find out the generating impulse that organizes the work in a broad, coherent and complete structure.
O Estilo indígena de Villa Lobos (Parte I): aspectos melódicos e harm?nicos
Moreira, Gabriel Ferr?o;
Per Musi , 2013, DOI: 10.1590/S1517-75992013000100003
Abstract: first part of the article resulting from my master's thesis, which deals with the musical representation of brazilian indians in villa-lobos's music. in this first part, i discuss melodic and harmonic aspects of what i call "indian style". what musical means the composer uses to evoke the figure of the indians on the memory and sensibility of his audience? is there a specific collection of recurring musical procedures to portray his ideas of savageness? i argue that villa-lobos has a particular way of composing when he deals with the indian/savage thematic on his work, a specific set of his oeuvre: his 'indian style".
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