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From the online journal OPUS - REVISTA DA ASSOCIAÇÃO NACIONAL DE PESQUISA E PÓS-GRADUAÇÃO EM MÚSICA / ANPPOM, here are citations and English abstracts to articles about Villa-Lobos. Click on the title to read the full-text in Portuguese (PDF format):

From #12, December 2006:
Desconstruindo o ursozinho de algodão de Heitor Villa-Lobos
Marcos Mesquita

Abstract: The article situates the Próle do bebé n° 2 in the production of Villa-Lobos and in the broad context of the vanguard of the decade of 1920, pointing also to the problems of dating some of the composer’s works. Thereafter the author presents a detailed analysis of the piece “O ursozinho de algodão”, the eighth piece of the Próle 2. This article is a revised and enlarged version of a section from the author’s master thesis.
Keywords: Villa-Lobos. Prole do bebé n° 2. Analysis.



From ANPPOM – Décimo Quinto Congresso/2005:
TIMBRES E TEXTURAS EM DEBUSSY E VILLA-LOBOS: UM ESTUDO ANALÍTICO E COMPARATIVO DE “LA MER” E “AMAZONAS”
Darlan Alves do Nascimento

Abstract
The goal of this Project of research, approved for the Graduate Program in Musicology of the Paraíba Federal University, is to point on the inherent characteristics of two works by composers of the twentieth century: Claude Debussy and Heitor Villa-lobos. La Mer and Amazonas, respectively, are both representative of a period where the language and the musical discourse cross significant changes on the level of construction. The timbre, that is, the sound color, begins to be given an important structural value. In some of their orchestral works, these composers utilize a great quantity of instruments, making possible, therefore, to apply different kinds of musical textures, that is, to insert several types of interrelations between the lines (independence – interdependence). Through quantitative (density) and qualitative (interlinear relations) changes of textures, these elements have a strong contribution in the delineation of the musical form.


MÚSICA PARA ORQUESTRA DE SOPROS DE HEITOR VILLA-LOBOS: UMA ABORDAGEM ANALÍTICA E CONTEXTUAL DE SEU ÚLTIMO PERÍODO PRODUTIVO
José Ivo da Silva, Prof°. Dr. Marcos Pupo Nogueira

ABSTRACT: This research will approach analytically the pieces Fantasia em três movimentos em forma de chôros (1958) and Concerto Grosso para flauta, oboé, clarineta, fagote e orquestra de sopros (1959), by Heitor Villa-Lobos, that finalize his simphonic production for wind orchestra. These too pieces were comissionaded by American Wind Symphony Orchestra in his last productive period of work. This analysis will highlights the procedures and technics used by Brazilian composer, especialy the thematic and textural elements. The main objective of this work is call the attention to the concerns present in this produtive phase and the use of this musical language by wind orchestras.
KEY WORLDS: Villa-Lobos; analysis; wind orchestra.


CONCERTO PARA VIOLÃO E PEQUENA ORQUESTRA DE HEITOR VILLA-LOBOS: UM ESTUDO COMPARATIVO ENTRE EDIÇÕES E MANUSCRITOS
Ricardo Camponogara de Mello

ABSTRACT: We made a comparative study among 3 edited versions of Max Eschig and 2 manuscripts of the Concert for Guitar and Small Orchestra of Heitor Villa-Lobos in this article. We accomplished to do it through a simultaneous comparison among the versions. As a result of this study, we found and pointed out a series of divergences. Such study allow us a new look before the piece, increasing its execution possibilities, and aiding the interpreters positioning in the performance.
KEYWORDS: Villa-Lobos; Comparative Study; Manuscripts; Editions; Versions.

 


EPIGRAMAS IRÔNICOS E SENTIMENTAIS E MODINHAS E CANÇÕES – ÁLBUM N° 2 DE HEITOR VILLA-LOBOS: UMA PROPOSTA ANALÍTICA, COMPARATIVA E INTERPRETATIVA
Amarílis Rebuá de Mattos

 

ABSTRACT:
This paper proposes a comparative analysis of the Epigramas Irônicos e Sentimentais and the Modinhas e Canções – Álbum n°2 by Heitor Villa-Lobos. This work is based on an analysis of the tonal songs’ traditional harmonic structure, as well as on descriptive songs’ sounding configuration, characterized by specific textures, rhythmical pattern and aspects of texture, harmony and melody. This two cycles reveal two moments in which the musical forms and styles could be considered part of a synthesis of Villa-Lobos’ vocal production, approaching two characteristical periods: the modernism and the nationalism, observing the technical-interpretative implications of the poem and of the chant’s melody in relation to the piano. The results of this research suggest the need of deeper studies about the vocal music of Heitor Villa-Lobos to obtain a good comprehension of his work and provide a better interpretation.
KEYWORDS: Epigramas; songs; Villa-Lobos; modernism; nationalism.


 

IL NEIGE... DE NOVEAU! E VIVA VILLA!, DE GILBERTO MENDES: UM ESTUDO SOBRE INTERTEXTUALIDADE MUSICAL
Lara Roberta P.de L. e S. Greco
Lucia Silva Barrenechea

Abstract
The transforming process by which the composer goes through when studying works from his antecessors and promoting a reinterpretation of this material into his own work makes the influence hard to observe, a hypothesis worth of investigating with more depth. The aim of this research is to study the phenomenon of intertextuality and musical influence in Gilberto Mendes’ work, through the analysis of two of his piano pieces written as homage to Henrique Oswald and Heitor Villa-Lobos, Il neige... de noveau! and Viva Villa!, respectively. By this analysis, it will be possible to identify the characteristic elements of the honored composers and find out how Mendes reinterpret and explores those elements into his own language, using the compositional material of these works and transforming it into his own creation.
Key-words: Intertextuality, Piano, Performance, Analysis, Brazilian Music.