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| Author(s): |
Eduardo Fernando de Almeida Lobo
Total Authors: 1
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| Document type: | Master's Dissertation |
| Press: | Campinas, SP. |
| Institution: | Universidade Estadual de Campinas (UNICAMP). Instituto de Artes |
| Defense date: | 2011-09-08 |
| Examining board members: |
Antônio Rafael Carvalho dos Santos;
Maria Lúcia Senna Machado Pascoal;
Ronaldo Cadeu de Oliveira
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| Advisor: | Antônio Rafael Carvalho dos Santos |
| Abstract | |
This musicological and analytical research presents a printed version and a musical analysis of the Concerto Carioca No. 3 by Radames Gnattali, composed out in early 1970s, previously found in manuscript version by the author. The editing process was financed by the musical group Quatro a Zero and was reviewed by Roberto Gnattali and the author of this dissertation. The analysis theoretical foundation was based on the books Harmony and Orchestration by Walter Piston, Twentieth-Century Harmony by Vincent Persichetti, Materials and Techniques of Twentieth-Century Music by Stefan Kostka, A guide to Schenkerian Analysis by David Neumeyer and Susan Tepping, Analytic Approaches to Twentieth-Century Music by Joel Lester and Richard Cohn's article Introduction to Neo- Riemannian Theory: a survey and a historical perspective. Using a Neo-Riemannian approach allied to Pitch set Theory, it could be shown how the composer created the structure of this large work, combining tonal diatonic and octatonic sonorities with posttonal passages, showing Radames as a creative and at the same time conscious composer when conducting formal plans of a large work. It also shows how the composer, an expert in Brazilian popular music, uses the rhythms and the formal concepts from this music to compose this classical work (AU) | |
| FAPESP's process: | 09/04342-8 - Concerto Carioca N 3 by Radames Gnattali: an analytical approach |
| Grantee: | Eduardo Fernando de Almeida Lobo |
| Support Opportunities: | Scholarships in Brazil - Master |