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THE INFLUENCE OF FOLK AND POPULAR MUSIC ON TWENTIETH-CENTURY FLUTE MUSIC OF BRAZIL
| Title: | THE INFLUENCE OF FOLK AND POPULAR MUSIC ON TWENTIETH-CENTURY FLUTE MUSIC OF BRAZIL |
| Author: | Smith, Kristen Lia |
| Description: | The purpose of this thesis is to define and identify nationalistic elements within selected flute compositions by twentieth-century Brazilian composers. The flute has been a primary melodic instrument in Brazilian indigenous, folk, popular, and art musics for centuries. In the late nineteenth century, Brazilian composers such as Joachim Antônio da Silva Callado began to draw upon virtuosic melodic devices and styles from popular genres in their salon compositions for flute. With the development of musical nationalism in the twentieth century, several Brazilian composers have written solo and chamber works for the flute that incorporate musical elements from folk and popular Brazilian genres. Some of the works I have analyzed are in the modern flute canon, such as the chamber works of Heitor Villa-Lobos. However, most flutists overlook the contributions of other Brazilian composers such as Mozart Camargo Guarnieri, Francisco Mignone, Pattápio Silva, Oscar Lorenzo Fernândez, Radamés Gnattali, José Siqueira, Cesar Guerra Peixe, Cláudio Santoro, and Osvaldo Lacerda. Each of these composers used similar nationalistic elements, including Afro-Brazilian syncopation, ostinatos in the accompaniment, and in particular, specific characteristics of the popular choro genre, in which performers incorporated virtuosic and idiomatic flute playing since the late nineteenth century.For background, I review the history of the flute in Brazilian art music (Chapter One). I discuss the role of the flute in indigenous, folk, and popular Brazilian music (Chapter Two) and describe musical haracteristics for each musical genre. In the third chapter, I summarize the musical career of Heitor Villa-Lobos and analyze his chamber works Choros No. 2, Bachianas Brasileiras No. 6, and Assobio a Játo. I then discuss the career of Mozart Camargo Guarnieri (1907-1993) and analyze his Three Improvisations for solo flute and Sonatina for flute and piano (Chapter Four). The final chapter contains biographical information on other twentieth-century Brazilian composers and overviews of their flute compositions. To conclude, I summarize the nationalistic elements common to the majority of these works. |
| Permanent Link: |
http://rave.ohiolink.edu/etdc/view?acc_num=ucin976030455
http://hdl.handle.net/2374.OX/11176 |
| Date: | 2000 |
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