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dc.contributor.advisorZumbro, Nicholas Constantineen_US
dc.contributor.authorBezerra, Marcio Antonio Salvador, 1968-
dc.creatorBezerra, Marcio Antonio Salvador, 1968-en_US
dc.date.accessioned2013-05-09T09:10:33Z
dc.date.available2013-05-09T09:10:33Z
dc.date.issued1998en_US
dc.identifier.urihttp://hdl.handle.net/10150/288827
dc.description.abstractThis study attempts to demonstrate the uniqueness of the work of Gilberto Mendes (b. 1922) in the panorama of twentieth-century Brazilian music, through an examination of selected piano pieces. Even though Mendes is mainly known through his choral works, pieces specifically meant for the piano appear throughout his career, allowing the tracing of his evolution as a composer as well as to detect common characteristics that define his style. The list of works chosen includes two Preludios (1945, 1949), four pieces from Pequeno Album para Criancas (1947-1951), Sonatina Mozartiana (1951), two Pecas para Piano (1957-1958), Musica para Pianono 1 (1962), Blirium C-9 (1965), Vento Noroeste (1982), Il neige ... de nouveau! (1985), Um Estudo? Eisler e Webern Caminham nos Mares do Sul ... (1989), and estudo extudo eis tudo pois (1997). Even though the time span of these works allowed for a fascinating development of Mendes' style towards maturity, the pieces chosen for this study share many common traits such as pervasive use of musical quotation, free manipulation of form, and use of intensive repetition. The freedom and flexibility utilized by the composer when combining these elements make him a unique figure among Brazilian contemporary composers.
dc.language.isoen_USen_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.subjectHistory, Latin American.en_US
dc.subjectEducation, Sociology of.en_US
dc.subjectMusic.en_US
dc.titleA unique Brazilian composer: A study of the music of Gilberto Mendes through selected piano piecesen_US
dc.typetexten_US
dc.typeDissertation-Reproduction (electronic)en_US
thesis.degree.grantorUniversity of Arizonaen_US
thesis.degree.leveldoctoralen_US
dc.identifier.proquest9831821en_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.disciplineMusic and Danceen_US
thesis.degree.nameD.M.A.en_US
dc.identifier.bibrecord.b38633978en_US
refterms.dateFOA2018-09-06T05:21:16Z
html.description.abstractThis study attempts to demonstrate the uniqueness of the work of Gilberto Mendes (b. 1922) in the panorama of twentieth-century Brazilian music, through an examination of selected piano pieces. Even though Mendes is mainly known through his choral works, pieces specifically meant for the piano appear throughout his career, allowing the tracing of his evolution as a composer as well as to detect common characteristics that define his style. The list of works chosen includes two Preludios (1945, 1949), four pieces from Pequeno Album para Criancas (1947-1951), Sonatina Mozartiana (1951), two Pecas para Piano (1957-1958), Musica para Pianono 1 (1962), Blirium C-9 (1965), Vento Noroeste (1982), Il neige ... de nouveau! (1985), Um Estudo? Eisler e Webern Caminham nos Mares do Sul ... (1989), and estudo extudo eis tudo pois (1997). Even though the time span of these works allowed for a fascinating development of Mendes' style towards maturity, the pieces chosen for this study share many common traits such as pervasive use of musical quotation, free manipulation of form, and use of intensive repetition. The freedom and flexibility utilized by the composer when combining these elements make him a unique figure among Brazilian contemporary composers.


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