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dc.contributor.advisorFan, Paulaen_US
dc.contributor.authorMachado, Simoneen_US
dc.creatorMachado, Simoneen_US
dc.date.accessioned2011-12-05T22:08:25Z
dc.date.available2011-12-05T22:08:25Z
dc.date.issued2006en_US
dc.identifier.urihttp://hdl.handle.net/10150/193914
dc.description.abstractThis document provides a resource for performers of Brazilian piano music. Chapter One explains why an awareness and understanding of the choreography, historical and social context of the indigenous dances of Brazil are important to accurately interpret Brazilian piano music.The second chapter investigates the development of music and dance in the Brazilian culture by examining the historical background and cultural origins of the three main influences on the resulting miscegenation within the population: Portuguese, Native Indians and Africans. A concise historical overview of the influence of dance on compositions for piano is presented in Chapter Three. The period of time covered is divided in two main phases. The period of European dominance is examined first through the composers Brazílio Itiberê da Cunha, Alexandre Levy and Alberto Nepomuceno. The second period covers the movement toward Nationalism after 1914, representative composers being Ernesto Nazareth, Heitor Villa-Lobos and Camargo Guarnieri.Chapter Four introduces the four selected dances, Cateretê, Jongo, Congada and Frevo, and provides insights into the origin, purpose, musical elements and choreography of these dances.Finally, in Chapter Five a comparison is made of the similarities between the specific dance and its corresponding piano composition. Brief biographies of the composers, Francisco Mignone, Lorenzo Fernandez and Marlos Nobre are provided along with a discussion on how the piano performance can be enhanced by an understanding and portrayal of the dance.
dc.language.isoENen_US
dc.publisherThe University of Arizona.en_US
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en_US
dc.titleAn Examination of Selected Piano Works by Francisco Mignone, Lorenzo Fernandezen_US
dc.typetexten_US
dc.typeElectronic Dissertationen_US
dc.identifier.oclc137356431en_US
thesis.degree.grantorUniversity of Arizonaen_US
thesis.degree.leveldoctoralen_US
dc.identifier.proquest1547en_US
thesis.degree.disciplineMusicen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.nameDMAen_US
refterms.dateFOA2018-07-03T06:19:25Z
html.description.abstractThis document provides a resource for performers of Brazilian piano music. Chapter One explains why an awareness and understanding of the choreography, historical and social context of the indigenous dances of Brazil are important to accurately interpret Brazilian piano music.The second chapter investigates the development of music and dance in the Brazilian culture by examining the historical background and cultural origins of the three main influences on the resulting miscegenation within the population: Portuguese, Native Indians and Africans. A concise historical overview of the influence of dance on compositions for piano is presented in Chapter Three. The period of time covered is divided in two main phases. The period of European dominance is examined first through the composers Brazílio Itiberê da Cunha, Alexandre Levy and Alberto Nepomuceno. The second period covers the movement toward Nationalism after 1914, representative composers being Ernesto Nazareth, Heitor Villa-Lobos and Camargo Guarnieri.Chapter Four introduces the four selected dances, Cateretê, Jongo, Congada and Frevo, and provides insights into the origin, purpose, musical elements and choreography of these dances.Finally, in Chapter Five a comparison is made of the similarities between the specific dance and its corresponding piano composition. Brief biographies of the composers, Francisco Mignone, Lorenzo Fernandez and Marlos Nobre are provided along with a discussion on how the piano performance can be enhanced by an understanding and portrayal of the dance.


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