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CAMPINAS
2013
ii
M264o
Madeira, Bruno.
A obra para violo de Maurcio Orosco: uma abordagem
analtica, interpretativa, tcnica e idiomtica de peas
selecionadas / Bruno Madeira. Campinas, SP: [s.n.], 2013.
Orientador: Fabio Scarduelli.
Dissertao (mestrado) - Universidade
Campinas, Instituto de Artes.
Estadual de
vi
AGRADECIMENTOS
vii
viii
ix
RESUMO
A presente pesquisa buscou construir uma concepo interpretativa de obras representativas
para violo solo do compositor Maurcio Orosco (1973-), a partir de um conjunto de
anlises de diferentes pontos de vista musical, interpretativo, tcnico e idiomtico. O
Captulo 1 expe uma breve contextualizao, dados biogrficos do compositor e catlogo
de suas peas para violo solo e outras formaes. No Captulo 2, so apresentadas anlises
musicais das peas escolhidas, ressaltando principalmente aspectos formais, texturais,
motvicos, harmnicos e rtmicos. Por fim, o Captulo 3 apresenta anlises de aspectos
interpretativos e tcnicos, elementos integrantes da concepo interpretativa que se formou
a partir das anlises prvias e do contato do autor com o repertrio. Tambm neste captulo
so expostos aspectos idiomticos das obras analisadas, que constatam a estreita relao
entre o contexto musical e a concepo tcnico-instrumental do compositor.
Palavras-chave: Maurcio Orosco. Violo. Prticas Interpretativas. Anlise musical.
Idiomatismo.
xi
xii
ABSTRACT
This study aimed to build an interpretative conception of representative works for solo
guitar by Maurcio Orosco (1973-), from a set of analysis from different viewpoints
musical, interpretative, technical and idiomatic. Chapter 1 sets a brief contextualization, the
composers biographical data and catalogs of his pieces for solo guitar and other
formations. At Chapter 2, there are presented musical analysis of the selected pieces,
mainly emphasizing formal, textural, motivic, harmonic and rhythmic aspects. Finally,
Chapter 3 presents analysis of interpretative and technical aspects, integral elements of the
works interpretative conception built from the previous analysis and the authors contact
with the repertoire. Also in this chapter there are exposed idiomatic aspects of the analyzed
works, which evidence the close relationship between composers musical context and his
technical-instrumental conception.
Keywords: Maurcio Orosco. Classical Guitar. Performance Practice. Musical Analysis.
Idiomatism.
xiii
xiv
SUMRIO
INTRODUO .................................................................................................................... 1
1. O COMPOSITOR MAURCIO OROSCO ................................................................... 3
1.1. CONTEXTO E DADOS BIOGRFICOS .................................................................. 3
1.2. CATLOGO DA PRODUO DO COMPOSITOR ................................................ 7
1.3. UMA BREVE ANLISE ESTILSTICA ................................................................... 8
2. QUESTES ANALTICAS E ANLISES ESTRUTURAIS .................................... 15
2.1. ANLISE MUSICAL E PERFORMANCE .............................................................. 15
2.2. SOBRE A TERMINOLOGIA ANALTICA ............................................................ 17
2.3. ANLISE DO MATERIAL MUSICAL DAS PEAS SELECIONADAS ............. 19
2.3.1. PRELDIO E TOCCATA .................................................................................. 19
2.3.1.1. Preldio ......................................................................................................... 19
2.3.1.2. Toccata.......................................................................................................... 22
2.3.2. SONATINA RUSSA .......................................................................................... 26
2.3.2.1. Prlogo ......................................................................................................... 27
2.3.2.2. Allegro .......................................................................................................... 29
2.3.3. INSTANTES ....................................................................................................... 33
2.3.3.1. Melanclico .................................................................................................. 33
2.3.3.2. Reflexivo ...................................................................................................... 36
2.3.3.3. Enrgico ........................................................................................................ 38
2.3.4. ESTUDOS EM ARABESCOS ........................................................................... 40
2.3.4.1. Estudo em Arabescos n. 2 Cantabile ........................................................ 41
2.2.5. SARACUTICUTIANDO .................................................................................... 45
3. ANLISE DOS ASPECTOS INTERPRETATIVOS, TCNICOS E
IDIOMTICOS .................................................................................................................. 51
3.1. INSTANTES .............................................................................................................. 57
3.1.1. MELANCLICO ................................................................................................ 57
3.1.1.1. Aspectos Interpretativos ............................................................................... 57
xv
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