This work aims to develop a musical analysis of Choros n. 7 (1924), by Heitor Villa-Lobos, for flute, oboe, clarinet in B flat, E flat alto saxophone, bassoon, violin and cello (with the inclusion of a tan-tam in the final bars). We seek to understand aspects of his compositional language, linking them with other Choros, with the production of the composer and with the music scene of his time. More specifically, we will carry out the study on which musical elements, primarily structural, can add parameters to a deeper understanding of the work; how the compositional procedures dialogue with the compositional aspects of the other Choros, and which of them we consider references to the work of Villa-Lobos. The research is justified by the contribution to the analysis material that is currently being developed on the Choros, especially under the compositional point of view. The methodology is based on the literature on the composer's musical production, on musical analysis, on techniques of composition, orchestration, material used in the music of the Twentieth-Century, both in Brazil and in other Western countries. In the conclusion, we will seek inter-relate the musical aspects rose during the research.
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