http://hdl.handle.net/10174/14318 2026-04-05T16:41:28Z 2026-04-05T16:41:28Z Hoccheim, Polyane Schneider Telles, Ana Guarnieri, Mozart Camargo http://hdl.handle.net/10174/40002 2025-12-19T00:26:14Z 2025-01-01T00:00:00Z

Title: Mozart Camargo Guarnieri. Canções para Canto e Piano: Uma edição crítica Authors: Hoccheim, Polyane Schneider; Telles, Ana; Guarnieri, Mozart Camargo Editors: Lourenço, Sofia; Monteiro, Francisco; Martingo, Ângelo Abstract: This edition comprises a musical transcription of fourteen songs for voice and piano by Mozart Camargo Guarnieri (1907-1993), composed between 1950 and 1964, which, until the present date, exist only in manuscript form and have not been published. In addition to the faithful transcription of the manuscripts, this work presents a brief historical contextualization of each song, including considerations about premieres, main performers, existing recordings, as well as a brief musical analysis, phonetic transcription, and translation into English. The phonetic transcription is elaborated according to the International Phonetic Association (IPA) and the norms of Brazilian Portuguese sung (Kayama et al, 2007). This critical edition is the result of the doctoral thesis entitled "The Contrapuntal Texture in the Songs for Voice and Piano by Camargo Guarnieri"; in fact, as we investigated Guarnieri's production in this genre, we found that a significant portion of the respective scores had not been edited. The manuscripts used for this edition belong to the composer's collection, housed in the Institute of Brazilian Studies at the University of São Paulo. While transcribing the musical manuscripts, we identified occasional errors in musical notation, such as ligatures, pauses, among others, which we have addressed in this edition as corrections based on the composer's own writing standard, as the clarity in most of the manuscripts facilitated these observations. The methodological conception of this critical edition ismbased on James Grier, especially when he asserts that critical interpretation and editing are inseparable, defining a critical edition as "the transmission of a text that best represents the historical evidence of the sources" (Grier, 1996, p. 156). Therefore, although this work reproduces the musical text present in the manuscripts as faithfully as possible, we consider it pertinent to correct any potential errors in notation, thus providing both the general public and the academic community with this musical text in an accessible and legible format, accompanied by the aforementioned historical contextualization and musical analysis of the works. Thus, considering that, according to Grier, the critical edition should expose all the necessary content for the performer, researcher, or interested party to make their interpretative and investigative decisions from a complete and readable document, we understand that phonetic transcription and translation from Portuguese to English are tools that assist in research, dissemination, and interpretation of the songs. We believe that this edition will contribute to the rescue of a repertoire that until now was inaccessible to the general public, and which we consider exemplary for the genre of chamber song, both for its elaborate, unpredictable, and independent rhythmic and melodic content in both the vocal line and piano part, resulting in a balanced and original dialogue.

2025-01-01T00:00:00Z Marchese, Taíssa Telles, Ana http://hdl.handle.net/10174/40001 2025-12-23T16:37:54Z 2025-01-01T00:00:00Z

Title: Orthodox Elements in “Prayer” by Maka Virsaladze: A Topical Analysis and Interpretation Authors: Marchese, Taíssa; Telles, Ana Editors: Mellas, Andrew; Lingas, Alexander Abstract: This article proposes the analysis of the representation of two elements of Orthodox Christianity which are referenced in the piece Prayer (for solo piano) by Maka Virsaladze, with the intention of assisting in the preparation of this work for performance. The methodology chosen for this analysis stems from topic theory (based on the concept of “topics”, introduced by Leonard Ratner in 1980) which has been used to recognise and examine external references (poetic, musical, literary, etc.) in a musical work. This article intends to contribute to this field by proposing a topical analysis of this particular piece, which has not been previously studied academically

2025-01-01T00:00:00Z Ribeiro, António Lopes, Eduardo http://hdl.handle.net/10174/39764 2025-12-10T10:46:31Z 2025-11-01T00:00:00Z

Title: Pareseres da Terra: Inovação Curricular no Ensino Artístico Especializado de Música em Portugal: Desenho e Fundamentos de um Estudo em Desenvolvimento Authors: Ribeiro, António; Lopes, Eduardo Abstract: O presente artigo, decorrente de um projeto de investigação no âmbito do pós-doutoramento, intitulado: ‘pareSeres da terra: Sons da Tradição e Identidade: a Música Popular e Tradicional Portuguesa no Conservatório do Vale do Sousa’, analisa o projeto pareSeres da terra como uma proposta de inovação curricular no ensino artístico especializado de música em Portugal. A investigação, sustentada numa abordagem qualitativa, de natureza descritiva e interpretativa, adota o estudo de caso como estratégia metodológica, recorrendo a entrevistas estruturadas, questionários, observação não participante e análise documental. O objetivo central consiste em compreender de que forma o projeto contribui para a diversificação do currículo musical, a valorização do património imaterial português e a transformação das práticas pedagógicas tradicionais. Os resultados esperados, considerando que se trata de um estudo em curso, situam-se no âmbito do reconhecimento da música popular e tradicional como elemento de identidade e inclusão cultural, destacando o papel da escola na aproximação ao território e na promoção de um ensino de música mais plural, significativo e situado.

2025-11-01T00:00:00Z Pescada, Gonçalo http://hdl.handle.net/10174/39117 2025-08-27T22:53:15Z 2021-05-31T23:00:00Z

Title: From Dusk to Light – an approach to the music of Edison Denisov Authors: Pescada, Gonçalo Abstract: A complexidade e a textura densa da música de Edison Denisov parecem contrastar com a simplicidade e a clareza dos sons que atravessam o universo do ouvinte e a sua capacidade de compreender o fluxo e a direção da linha melódica. “Des ténèbres à la lumiére” transporta o ouvinte para momentos de incrível beleza estética, ultrapassando as notas da partitura e preenchendo o seu imaginário e a sua mente criativa sobre diferentes momentos que se estendem do caos à pureza. Esta obra musical desafia a sensibilidade do intérprete e os limites do instrumento na linguagem moderna, transpondo diferentes padrões de construção, objetividade, intuição pura e assertividade no campo musical. Também determina o perfil e a criatividade do compositor para pintar um quadro musical com linguagens, técnicas e habilidades modernas. The complexity and dense texture of Edison Denisov‟s music seems to contrast with the simplicity and clearness sounds that cross the listener's universe and its capability to understand the flow and direction of the melodic line. “From Dusk to Light” takes us for moments of incredible complexity of written music, surpassing the notes in the score and fulfilling our imaginary and soul of dreams about different moments that extend from chaos to purity. This musical work defies the interpreter‟s sensitivity and the limits of the instrument in modern language to over cross different patterns of construction, objectivity, pure intuition and assertiveness in the musical field. It also determines the profile and the creativity of the composer to paint a musical picture with modern language, technic and ability.

2021-05-31T23:00:00Z