Mário da Silva ([email protected]) THE CLASSICAL GUITAR IN PARANA STATE: A HISTORICAL STYLISTIC APPROACH Mário da Silva Junior Classical Guitar Department, School of Music and Fine Arts, Parana State, BRAZIL. Abstract An overview of the classical guitar output with diversified languages, style and short biographies is given. 1 INTRODUCTION This study aims to examine the repertory for classical guitar by composers from Parana State (South of Brazil) that have been produced after Villa-Lobos and it inquires if the new stylistic and aesthetic procedures of composition have been made improvement. Due to, become necessary understand profoundly the way how those prominent composers work with system, style and structures of composition. The work presented, shows excerpts from my dissertation concerning the title above. Part 2 and 3 show procedures concerning nationalistic style in Brazil and its consequences and influences into the repertory from Parana. The relationship between Brazilian Music of the Nationalism and the guitar is inevitable. The guitar represents an icon of the popular culture in Brazil. On the other hand, the introduction of Schoenberg’s twelve-tone technique of composition in Brazil polarized two groups: those who followed the nationalist school headed by the composer Camargo Guarnieri against who followed the avant-garde brought to Brazil by the German professor and composer Hans-Joaquin Koellreutter. Nevertheless, although this generation has been writing works for guitar in a strong influence from the nationalist school and from the new experimentation of structuring sound, it is noticeable that instead of polarization nationalism/avant-guarde,
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2 THE GUITAR LITERATURE FROM THE BRAZILIAN MUSIC OF THE
NATIONALISM
The relationship between Brazilian Music of the Nationalism and the guitar is
inevitable. The guitar is a kind of icon of the popular culture in Brazil. Earlier players and
composers such as Joaquim dos Santos (1873-1935), or Quincas Laranjeiras (nickname),
and João Teixeira Guimarães (1883-1947), or João Pernambuco, became from the folk
music from the popular areas. The Brazilian nationalist generation of composers made an
extensive repertory for guitar, inspired and influenced by those folk composers
generation. The first contribution was made by Heitor Villa-Lobos (1887-1959), followed
by Francisco Mignone (1897-1976), Radamés Gnatalli (1906-1988), Camargo Guarnieri
(1907-1993) and Guerra-Peixe (1914-1993).
2.1 Heitor Villa-Lobos1
Ano Título Instrumentação 1899 Mazurka in D Violão solo (partitura não localizada) 1900 Panqueca Violão solo (partitura não localizada) 1904 Valsa Concerto n° 2 Violão solo (partitura não localizada)
1908-12 Suíte Popular Brasileira – Mazurka-Choro, Schottish-Choro, Valse-Choro, Gavotta-Choro, Chorinho
Violão solo
1910 Canção Brasileira Violão e canto (partitura não localizada) 1910 Dobrado Pitoresco Violão solo (partitura não localizada) 1910 Quadrilha Violão solo (partitura não localizada) 1910 Tarantela Violão solo (partitura não localizada) 1911 Mazurka Simples Violão solo (partitura não localizada) 1917 Sexteto Místico Flauta, oboé, sax alto, harpa, celesta e violão 1920 Choro n°1 Violão solo 1925 Modinha Violão e canto 1929 Doze Estudos Violão e canto 1929 Introdução ao Choros Violão inserido na orquestra 1937 Distribuição de Flores Violão e flauta 1938 Ária da Bachiana n° 5 Violão e canto 1940 Seis Prelúdios Violão solo (Prelúdio 6, partitura não localizada)
1 FRAGA, Orlando. Heitor Villa-Lobos: A Survey on his Guitar Music. See
http://www.rem.ufpr.br/REMv1.1/vol1.1/villa.html Last access November, 3rd, 2004.
1943 Melodia poética do Século XVIII Violão e canto 1951 Concerto para violão e pequena orquestra Vioão e orquestra 1958 Green Mansions Violão inserido na orquestra
The guitar Brazilian scenery got impulse for its development after Heitor Villa-
Lobos, one of the most important composers from the 20th Century. This happened, first,
because of the quantity of works for guitar by the composer, concerning since solo
repertory , Suíte Popular Brasileira (1913), 12 Estudos (1929) and 5 Prelúdios (1941),
chamber music, such as Sexteto Místico (1917), for flute, oboe, saxophone, harp, celesta
and guitar and Distribuição de Flores (1937), for flute and guitar, until the Concerto para
violão e Orquestra (1951); and, second, because of the idiomatism of new sonorities on
guitar, definitely standing the guitar into the context of the erudite Brazilian music. Many
of the most important features proposing new sonorities on guitar started up by Villa-
Lobos are: open strings followed by parallel chords that, even resulting in dissonance,
improve the quality of guitar´s sonority; use of artificial and natural harmonics; slurs used
as an idiophonism and sound effect. The idiomatism of new sonority on guitar introduced
by Villa-Lobos was utilized by the follow generation like Alberto Ginastera (1916-1983),
Ano Título Instrumentação S/ data Canção da garoa e 4 Valsas Duo de violões 1953 Choro Violão solo 1953 Minueto Fantasia Violão solo 1953 Modinha Violão solo 1953 Repinicando Violão solo 1970 Brazilian Song Violão solo 1970 12 Estudos Violão solo 1970 12 Valsas Brasileiras em Forma de Estudos Violão solo 1974 Prelúdio e Fuga Duo de violões 1975 Concerto Violão e orquestra 1976 Valsa de Esquina Violão solo 1976 Variações sobre o tema Luar do Sertão de Catulo da
Paixão Cearense Violão solo
1976 Choro Voz e violão 1976 Dialogando Voz e violão 1976 O Impossível Carinho Voz e violão 1980 Batuque Violão solo 1980 3 Valsas Brasileiras Violão solo 1981 Choro Duo de violões
The first experimentation on guitar by Francisco Mignone (1897-1986) started
out by the 1950s, using nationalist styles such as choro, for example Repinicando (1953),
songs, “modinhas” and waltz. In 1970, 12 Estudos for example, Mignone followed the
Villa-Lobos’s style, paying attention on the guitar idiomatism and exploring diatonic and
chromatic systems. Mignone explores the universe of tempered system in Valsas
Brasileiras em forma de estudo for solo guitar. According to Edelton GLOEDEN:
Francisco Mignone wrote systematically his 12 Valsas Brasileiras em Forma de Estudos for solo guitar into twelve minor key signature, in a cromatic sequence, starting from Cminor to Bminor. In spite of the work didn´t concern about 24 tonalities, it certify us that they are one of the rare examples, between guitar works, which explores the universe of tempered system2.
2 Disponível em http://planeta.terra.com.br/arte/violao_intercambio/ . Acesso em
developed within the soloist instrument that he utilizes in 12 Estudos, changing often the
time signature (4/4, 3/4, 2/4, 3/8).
2.3 Radamés Gnatalli
Ano Título Instrumentação 1933 Divertimento para 6 instrumentos Violão, 2 pianos, acordeom, baixo e
bateria 1934 Retratos 2 violões (Transcrição) 1943 Dança Brasileira Violão solo 1944 Seresta Violão, flauta e quarteto de cordas 1946 Quarteto de Violões Transcrição para 4 violões do Quarteto
no. 1 1948 Concertino nº 3 Violão, orquestra de cordas, flauta e
tímpano 1948 Concerto nº 2 Violão (7 cordas) e orquestra 1952 Concerto nº 1 Violão e orquestra 1954 Uma rosa para Pixinguinha Violão, piano, 2 violões 1957 Brasiliana nº 8 2 violões, transcrição da formação
original para 2 pianos 1957 Concerto nº 2 para violão e piano Transcrição do Concerto no. 2 1959 Sonata Flauta e violão 1959 Sonata Violoncelo e violão 1960 Sonatina Cravo e violão 1960 Sonatina Piano e violão 1964 Concerto de Copacabana (Concerto no. 3) Violão e orquestra de cordas 1966 Sonatina Violoncelo e dois violões 1967 Dez estudos para violão
Estudo 1 para Turíbio Santos. Estudo 2 para Waltel Branco, Estudo 3 para Jodacil Damaceno, Estudo 4 para Nelson Piló, Estudo 5 para Sérgio Abreu, Estudo 6 para Geraldo Vespar, Estudo 7 para Barbosa Lima, Estudo 8 para Darci Vilaverde, Estudo 9 para Eduardo Abreu, Estudo 10 in memoriam Garoto.
Violão solo
1967 Concerto à Brasileira nº 4 “Dedicado a Laurindo de Almeida
Violão e orquestra de cordas
1968 Concerto para dois violões e orquestra Dois violões e orquestra 1968 Concerto para dois violões e orquestra de cordas Dois violões e orquestra de cordas 1971 Introdução e Choro Violino e violão 1981 Toccata em ritmo de samba – para Waltel Branco Violão solo 1983 Brasiliana nº 13 “Dedicado a Turíbio Santos” Violão solo 1988 Suite – 1.Pastoril 2.Toada 3. Frevo Violão solo
Radamés Gnatalli (1906-1988) exerted considerable influence on the thinking of
Brazilian popular guitar means and he was director of the Camerata Carioca. He was in
touch with Brazilian classical guitar players too, dedicating to some of them the Dez
Estudos for solo guitar. In those Estudos “Gnatalli followed the Chopin, Bartók and Villa-
Lobos examples, because [...] they weren´t didatics, but composition focused in particular
technical skills developed by his friends guitarists”3. He employees in general, in his
guitar works, syncopated rhythms, changing the time signature (3/8 and 2/4), and melodic
patterns. The three guitar concertos show his turned to Neo-Romantic and Neo-Classical
moulds while maintaining the light style often associated with Symphonic Jazz. Those
models are presented in works like Sonata for cello and guitar, Sonatina for flute and
guitar, and the guitar Concerto à Brasileira nº 4. According to Daniel WOLFF:
This Concerto, in three parts, combines drawing harmony with syncopated rhythms of Brazilian popular music. Gnatalli has a broad domain of guitar technique features. He attachs special functions within the concert, sometimes by the soloist, other, the guitar accompaning the orchestra, though always putting the guitar as an icon of the Brazilian culture4.
The best contribution made by Gnatalli to the guitar literature was his numerous
Ano Título Instrumentação 1944 Ponteio (dedicado a Abel Carlevaro) Violão solo 1982 Estudo no. 2 “Tranqüilo” Violão solo 1982 Estudo no. 3 “Sem Pressa” Violão solo 1986 Valsa Choro no. 2 Violão solo
Camargo Guarnieri (1907-1993) wrote only four works for solo guitar, but with
representative contribution to the guitar literature. His style is featured by exploring
chromaticism between parallel movements of the left hand, showing an evident influence
from Villa-Lobos´s technique. In general, the rhythmic is subordinated by chromatic
melodies drawing. The first work by Camargo Guarnieri for guitar was written in 1944
named Ponteio dedicated to Abel Carlevaro; he uses a polyphonic nationalistic style. The
composer came back to guitar again only 38 years late, written the other three works in
the 80s. Moacyr TEIXEIRA NETO told us that Guarnieri´s style from this period,
concerns about a “musical type that we could call as ‘experimentalist’, because his works
are closely to the twelve-tone technique which he criticised int the 50s”5.
Ano Título Instrumentação 1946 Três Peças - I. Ponteio II. Acalanto III. Chôro Violão solo 1948 Suíte - I. Ponteio II. Acalanto III. Chôro Violão solo 1966 Ponteado Violão solo (ou viola) 1969 Sonata – I. Allegro II. Larghetto III. Vivacissimo
“Dedicada a Turíbio Santos Violão solo
1969 Prelúdio nº / “Dedicada a Léo Soares” Violão solo 1970 Prelúdio nº 2 (em forma de Estudo)
“Dedicada a Geraldo Verpar” Violão solo
1970 Prelúdio nº 3 “Dedicada a Sílvio Serpa Costa” Violão solo 1970 Prelúdio nº 4 “Dedicada a Waltel Blanco” Violão solo 1973 Prelúdio nº 1 Violão solo 1973 Prelúdios – I. Lua Cheia II. Isocronia III. Dança Fantástica IV.Canto
do Mar V. Ponteado Nordestino Violão solo
1979 Lúdicas nº 1 Fantasieta “Dedicada a Nélio Rodrigues” Violão solo 1979 Lúdicas nº 2 Dança “Dedicada a Nélio Rodrigues” Violão solo 1979 Lúdicas nº 3 Organum “Dedicada a Nélio Rodrigues” Violão solo 1979 Lúdicas nº 4 Berimbau “Dedicada a Nélio Rodrigues” Violão solo 1979 Lúdicas nº 5 Modinha “Dedicada a Nélio Rodrigues” Violão solo 1979 Lúdicas nº 6 Ponteado “Dedicada a Nélio Rodrigues” Violão solo 1979 Lúdicas nº 7 Diálogo “Dedicada a Nélio Rodrigues” Violão solo 1980 Lúdicas nº 8 Diferencias Brasileñas “Dedicada a Nélio Rodrigues” Violão solo 1980 Lúdicas nº 9 Notas repetidas “Dedicada a Nélio Rodrigues” Violão solo 1980 Lúdicas nº 10 Urbana “Dedicada a Nélio Rodrigues” Violão solo 1981 Breves 1- I. Prelúdio alegre II. Breve cantiga III.Em cinco tempos Violão solo 1981 Breves 2- I. Ligaduras II. Harmônicos naturais III. Arpejado Violão solo 1981 Breves 3- I. Quatro ligadas II. Imperial III. Repetidas Violão solo 1981 Breves 4- I. Uníssonos II. Segundas III. Terças Violão solo 1981 Breves 5- I. Quartas II. Quintas III. Sextas, tempo de paso-doble Violão solo 1981 Breves 6- I. Sétimas II. Oitavas III.Sucessivas Violão solo 1983 Caderno de Mariza para violão - I. Entrada II. Violão a bordo III.
Caprichosa IV.O menino da congada Violão solo
Quite the opposite of Radamés Gnatalli, who has a huge production for chamber
music with guitar and guitar concerts, César Guerra-Peixe (1914-1993) did special
attention to solo guitar, written 29 compositions. Guerra-Peixe researchs unusual
sonorities of the instrument. According to Clayton Daunis VETROMILLA, “Guerra-
Peixe, when writing to guitar, treats the instrument with autonomy, attaching specific
skills that guitar evoques producing various and peculiars sonorities”6. Guerra-Peixe
introduced the guitar in the twelve-note technique for the first time in Brazil with Suite
(1948) for solo guitar. In fact, this time, Guerra-Peixe was trying to conciliate serialism 6 VETROMILLA, Clayton Daunis. Introdução à obra para violão solo de Guerra-
Peixe. Dissertação de Mestrado em Música, Escola de Música - UFRJ, 2002, p. 23.
with Brazilian popular music. He created a kind of Brazilian serialism named “séries
defectivas” (incomplete series that have less than 12-note)”7. In the 1960s, Guerra-Peixe
wrote Sonata (1969) for solo guitar, indicating a turning away from direct preoccupation
with national sources and neo-classic style giving up the twelve-note technique. Sonata
has “three movements with cycle aspects, exploring deeply the guitarist virtuosity on the
first and third movement. The harmony idiom shows a Brazilian north-east popular music
style, enriched by chromaticism procedures and ninth chords”8.
The repertory of the nationalist composers, as well as the follow generation, had
the best support of the Brazilian guitarist worldwide known. These performers include
Turíbio Santos (b.1943), the Duo Abreu - composed by brothers Sérgio Abreu (b.1944)
and Eduardo Abreu (b.1949), and the Duo Assad – composed by brothers Sérgio Assad
and Odair Assad both duos from Rio de Janeiro. Turíbio Santos made in November, 16th,
1962, the debut of Sexteto Místico (1917), by Heitor Villa-Lobos, and in November, 21st,
1963, he played the entire version of 12 Estudos (1929) for guitar solo, both in Rio de
Janeiro. Many of those works were dedicated to performers. For example, Radamés
Gnatalli– that uses popular genres, such as “choro” and songs, mixed with the clear
national influences and neo-classic idiom – wrote the Sonatina for Guitar Duo and Cello
(1966), to Duo Abreu, made the debut in march, 25th, 1968, at Sala Cecília Meireles
Theater (Rio de Janeiro), with Iberê Gomes Grosso playing Cello, and the Concerto for
Guitar Duo and Orchestra to Duo Assad (1968)9. César Guerra-Peixe dedicated the
Sonata (1969) to Turíbio Santos.
Henrique Pinto (b.1941), Antônio Carlos Barbosa Lima (b.1944), Maria Lívia
7 NEVES, José Maria. Música contemporânea brasileira. São Paulo: Ricordi Brasileira, 1977,
p. 102. 8 WOLFF Daniel. Encarte de Compact Disc Fábio Shiro: Recital Brasileiro (RBM 463
022)Porto Alegre, 2000.Disponível em: www.assovio.com.br. Acesso em 28/06/2002. 9 BARBOSA, V.; DEVOS, A. M. Radamés Gnatalli: o eterno experimentador. Rio de Janeiro:
FUNARTE/Instituto Nacional de Música, 1984. Gravado pelo Duo Assad pela Continental com Orquestra Armorial de Pernambuco (não consta data), p.56.
The “carioca” (born in Rio) generation after Villa-Lobos has been writing works
for guitar in a strong influence from the nationalist school. Therefore “instead of
polarization nationalism/avant-guarde, besides another contradiction
(antinomia=antinomy), the composition started to show a plural aesthetic with more
diversification”10. The music style and resource displayed in the production of composers
from Rio de Janeiro show free tonality, serialism, experimentalism, indeterminate
techniques, ‘prepared guitar’, graphism and ruidismo. The rhythmic structures using
percussion striking the soundboard is an idiomatic tendence that it can see in most of
composers from this generation.
3.1.1 Edino Krieger
Ano Título Instrumentação 1956 Prelúdio Violão solo 1974 Ritmata Violão solo 1987 Romanceiro Dois violões 1994 Concerto Dois violões e orquestra de cordas 2002 Passacalha para Fred Schneiter Violão solo 2002 Sonancias IV Dois violões e violino
Edino Krieger (b.1928) did rare attention to the guitar production, but his few
works have been included within the contemporary program by known guitarists. His
most played work Ritmata (1974), for solo guitar, has been choosen as a set piece of
important guitar contests in Brazil and abroad. In this work, Krieger employs serialism
jointed with idiomatic features of the instrument. The main theme-motive of the work is
organised in fourths (D, A, E [B] descendant) showing a close idea of the guitar tune.
This theme-motive is transformed repeatedly inserted with a second cromatic material
10 TACUCHIAN, Ricardo. Duas décadas de música de concerto no Brasil: tendências estéticas.
ANAIS DO XI ENCONTRO NACIONAL DA ANPPOM, Universidade de Campinas (UNICAMP), 24 a 28 de agosto 1998. Rio de Janeiro: UNICAMP, 1998, p. 2.
Ano Título Instrumentação 1960 1° Ciclo Nordestino Op. 5b Dois violões 1960 1° Ciclo Nordestino Op. 5c Violão solo 1963 2° Ciclo Nordestino Op. 13b Dois violões 1966 Dengues da Mulata Desinteressada Op.20b Voz e violão 1966 Beiramar Op.21c Voz e violão 1966 3° Ciclo Nordestino Op.22b Dois violões 1966 Modinha, op. 23 Voz, flauta e violão 1968 Desafio XVIII (Amazônia I) Op. 31/18 Voz e violão 1968 Desafio XIX Op.31/19 Violino,violão e violoncelo 1968 Desafio XX Op.31/20 Flauta,violão e violoncelo 1968 Desafio XXI Op.31/21 Violão e harpa 1968 Desafio XXII Op. 31/22 Dois violões 1968 Desafio XXIII Op. 31/23 Violão e orquestra de cordas 1968 Desafio XXIII Op. 31/23b Violão e piano 1968 Desafio XXIV Op.31/24 Conjunto de violões 1968 Dia da Graça op. 32 Voz e violão 1974 Momentos I Op.41/1 Violão solo 1975 Momentos II Op.41/2 Violão solo 1976 Momentos III Op.41/3 Violão solo 1977 Homenagem a Villa-Lobos Op. 46 Violão solo 1980 Yanomami Op. 47 Coro misto, tenor solo e violão 1980 Sonâncias II op. 48 Flauta, violão, piano e percussão 1980 Concerto Opus 51 Violão e orquestra 1982 Momentos IV Opus 54 Violão solo 1982 Momentos V Opus 55 Violão solo 1983 Três Danças Brasileiras Op. 57 Dois violões 1984 Momento VI Op. 62 Violão solo 1984 Momentos VII Op. 63 Violão solo 1984 Prólogo e Toccata Op. 65 Violão solo 1985 Entrada e Tango Op. 67 Violão solo 1989 Fandango Op. 69 Conjunto de violões 1989 Duo op. 71 Violão e percussão 1989 Sonatina Op. 76 Dois violões 1990 Reminiscências Op. 78 Violão solo 1993 Op. 31/18 (Amazônia I) Voz e violão 1993 Rememórias Op. 79 Violão 1994 Concerto duplo Op. 82 Dois violões e orquestra
Marlos Nobre (Recife, b.1939) lives in Rio de Janeiro, where produced the most
part of his work for guitar. He diversifies the instrumentation and concentrate to produce
for many chamber ensembles, including guitar and percussion and guitar and choir. His
early works are from the 1960s and in spite of we see his own style inside the pieces, he
also uses elements borrowed from the rhythmic and structure of the popular and folk
groups in the streets of Recife (North-east of Brazil). Those procedures are showed in
Ciclos Nordestinos (1960-1966). During the composition of these works, the composer
took the advice by the guitarist Sérgio ASSAD “don’t use any limitation or restriction,
techniqueal or stylistic, leaving the solution to the guitarists”12. The Momentos’s cycle
(1974-1984) showed distinctive features comparing with the early works, using rather
chromatic and intensity structures than folk rhythm elements. It is interesting to
emphasize that in Momentos’ cycle Nobre will explores the dynamic potencial of the
instrument until the saturation, resulting in a energic sonority and transcending the stigma
of the guitar as an instrument only for accompaniment of popular songs. In Momentos I
(1974) the composer begins the piece with “pizzicatto a la Bartók” played fortíssimo, a
shocking sound with great impact with umbigous interpretation: the imitation of berimbau
(the instrument that has been used in Bahia by the capoeira’s players) by the guitar, and at
the same time, the greatest sonority of the guitar showing a kind of declamatory and
dramatic piece. In Chamber Music, Nobre also explores percussive characteristcs of the
instrument such as in Yanomami (for choir, solo tenor and guitar) in which he uses
Brazilian indians rituals organised with dynamic developments. In this work, the guitarist
has to stroke the soundfrets of the guitar with fixed and repeated beats, and the tenor sings
a vowel “o” with a fixed note and stressed very strong with diaphragm. According to
NOBRE “As an ensemble instrument, I don’t think the guitar’s timbristic possibilities are
yet totally understood by contemporary composers”13. In his work In Memoriam (1976),
for guitar and orchestra, NOBRE spoke that used the guitar in a most simple way: the
enunciation, at a very dramatic moment of the work, of the open strings of the guitar as an
ascending arpeggio:
12 Available in: www.uol.com.br/marlosnobre;listaobras.html. Last acess in Feb,/2002.
COOPER, Colin. Marlos Nobre: Speaking Internationally, Colin Cooper inter- views with Marlos Nobre, CLASSICAL GUITAR 12 n°3, November, 1993, p. 13. 13 Ibid., p. 14.
“The tremendous impact and the evocative feeling that provoked this simple procedure, in a very complex orchestral texture, is clear proof of the enormous emotional and expressive power of the guitar, not only as a solo but as an ensemble and orchestral instrument”14.
3.1.3 Ricardo Tacuchian
Ano Título Instrumentação 1964/66
Canções Ingênuas (com 2a versão em 2000) Violão e voz média
1978 Libertas quae sera tamen Flautas doce (soprano 3, contralto 1, tenor 1), violão, 3 percussionistas (atabaque, agogô, triângulo, guizos e sinos), narrador e público
1980 Impulsos nº 1 Dois violões 1981 Lúdica I (a Turíbio Santos) Violão solo 1986 Lúdica II (a Hans J. Koellreutter) Violão solo 1986 Evocando Manuel Bandeira (a Paulo Pedrassoli, 2a.
versão em 1996) Violão solo
1986 Maxixando (a Graça Allan, 2a. versão em 1996) Violão solo 1986 Impulsos nº 2 (a José Siqueira) Dois violões 1987 Imagem Carioca Quatro violões 1988 Profiles (a Michael McCormick) Violão solo 1996 Nos Tempos do Bonde (a Turíbio Santos) Violão solo 1996 Largo do Boticário (a Maria Haro) Violão solo 1996 Festas da Igreja da Penha (a Edelton Gloeden) Violão solo 1996 Parque do Flamengo (a Nicolas de Souza Barros) Violão solo 1997 Evocação a Lorenzo Fernandez Violão e flauta 1999 Páprica (a Bartholomeu Wiese) Violão solo
Ricardo Tacuchian (b.1939) presents a numerous production for guitar, including
solo and chamber music. According to Moacyr TEIXEIRA NETO, “with an avant-garde
style, worried with logical structures, the composer uses several possibilities such as
timbristics effects, percussion on the soundboard and differents scordaturas (change of
tunes)”15. We can find those features in Lúdica I (1981), Impulsos I (1984) for guitar duo,
Lúdica II (1986) and Profiles (1988). On the other hand, the composer doesn’t give up
nationalist features. In his cycle Série Rio de Janeiro, TACUCHIAN affirmed “to make a
musical synthesis starting with genres that was born and grew up in Rio de Janeiro,
14 Ibid., p. 14. 15 TEIXEIRA NETO, op. Cit, p. 28.
Ano Título Instrumentação 1980 Para Flores e Estrelas Voz aguda e violão 1984 5 Miniaturas Dois violões 1984 Colônia de Pêssego Flauta e dois violões 1986 5 Miniaturas Quatro violões 1986 Três Peças Cantantes Três violões 1987 Estudos Sintéticos Violão solo 1988 Dois Cânticos para o Sol Voz média e violão 1989 Miniaturas Grupo de choro 1989 Choro Misto Grupo de choro 1990 Tretraktys Violão solo 1994 Cruzar e Bifurcações Flauta, clarinete, trombone baixo, violino, contrabaixo,
violão e barítono 1994 Concerto de Câmara Flauta, violão e grupo de câmara 1997 Introsfera Clarinete, violão, cello e percussão 1998 Cerrados Grupo de choro
Roberto Victório17 (b.1959) did Bachelor Diploma on Guitar, Composition and
Conducting at UFRJ (1986). He did Master Degree in Composition at UFRJ (1991). Since
1994 he left Rio de Janeiro for Cuiabá, capital of the Mato Grosso State, where he is
conductor of the Federal University of Mato Grosso Symphonic Orchestra and lecturer in
the Department of Arts. He has composed over 100 works and his music is regularly
featured at the principal contemporary music festivals in Brazil. His compositions have
been selected for performance at the following international festivals: Zurich, Hamburg,
New York, Budapest, Montevideu, Santiago, Gröznjan and Stockholm. He was awarded
First Prize in 1985 international Montevideu Competition for new orchestral works; an
Honourable Mention at the Budapeste Festival; Second Prize at the 500 years of the
Americas Festival in Rio de Janeiro in 1992; his music was chosen to represent Brazil at
the 1988 international Seminar “Time in Music” in Gröznjan, Yugoslavia. In 1995 his
Concerto for Flute, guitar and Chamber Ensemble was premiered by Duo Most-Kunz and
Grupo Novo Horizonte de São Paulo directed by Graham Griffiths – in the studios of
Danish Radio Copenhagen and was later broadcast. He wrote several works for guitar,
17 EGG, André. “Tetraktys” para violão de Roberto Victório. Monografia (Curso de
Especialização em Estéticas e Interpretação na Música do Século XX), EMBAP, Curitiba, 2001.
including mainly the guitar inside chamber ensemble. According to Moacyr TEIXEIRA
NETO, “his most worldwide piece is Tetraktys, demanding an upper artistic level by the
guitarist, exploring free mobiles with control showing a new tendence on guitar
composition up to date”18.
3.1.5 Arthur Kampela
Ano Título Instrumentação 1981/2 Balada Violão solo 1983 Fandango Violão solo 1988 Polimetria Quarteto de violões preparado 1990/3 Percussion Study I e II Violão solo 1994 Textorias Geração por computador e violão
Arthur Kampela (b.1960) studied private classes of composition with Hans-
Joachim Koellreutter and Ricardo Tacuchian in Brazil. He got a scholarship from CNPq
and did Master Degree in Composition at Manhattan School of Music (1992). He
attending at Brian Ferneyhough (b.1943) master classes. Arthur Kampela employs
percussive effects on guitar played with fingers, nails on the soundboard, fretboard and
arms. He used percussive tools made by plastic, glass and metal. Using the same
combination in percussive elements, during the piece Kampela structured this sounds with
complexity causing unpredictability. This complexity is organised with different rhythmic
patterns combining changes of time signature (1/4, 3/16, 5/4). In Percussion Study I
Kampela uses two systems: (1) the system above for determinate sounds; and (2) the
system below, prescripted guitar notation for each finger and each percussive effect.
Therefore, in his series of "Percussion Studies" for solo guitar, Kampela has created an
entirely new playing technique, denominated "Tapping Technique", combining in a
compelling and seamless manner, traditional techniques and noise oriented, percussive
effects.19 Kampela named the system as micro metric modulation, and according to him, it
is an extension of metric modulation developed by Elliott Carter (1908).
3.1.6 Alexandre Faria
Ano Título Instrumentação 1992 Oração Fagote e violão (transcrição pelo
autor para violino e violão) 1993 Entoada Violão solo 1996 Concerto n.1 Violão e orquestra 1997 Prelúdio n.1 "Olhos de uma Lembrança" Violão solo 1999 Concerto n.2 "Mikulov" Violão e orquestra de cordas 2001 Prelúdio n.2 "A morte do desejo" Violão solo
Alexandre Faria (b.1972) did Bachelor Diploma on guitar at UNIRIO (1993),
attending at Nicolas de Souza Barros classes. He did Bachelor in Composition (1996) at
King’s College in London, attending at Robert Keeley, Silvina Meinstein and Harrison
Birtwistle classes. He was the winner of Segovia International Composition Competition
in 1996 with the piece Entoada (1993) for guitar solo. His output for guitar concert has
earned notoriety such as Concerto no. 1 (1996) and Concerto Mikulov para Violão e
Orquestra de Cordas (1999), this last one Fábio Zanon (1966) made debut at Czech
Republic in 2000. According to Faria20, his style is based upon three elements: (1)
repetitive elements with Gestalts organization inside a macro music-discourse through
math relationship; (2) pitch significance, determinating to each sound extra-musical
significance; and (3) motifs as structural elements, not thematic development and,
because of this, they result in a static timing. As a composer for guitar he does not let the
natural limitations of the instrument interfere with his harmonic imagination.
19 See more about “The Tapping technique” in: www.kampela.com/bio.htm 20 Declaração feita por Alexandre FARIA em 05/05/01.
The output by new generation composers from São Paulo State can be traced by
diversified languages from composers guitarists. Some composers such as Almeida Prado,
appears to search for a new sonority style enriching color patterns into his pieces. This
kind of procedures is possible to find in composers guitarists such as Paulo Bellinati,
Paulo Porto Alegre and Giácomo Bartoloni.
3.2.2 Almeida Prado
Ano Título Instrumentação 1972 Ritual da Palavra Barítono, coral (soprano, contralto, tenor e
baixo); flauta, oboé, clarinete, , 2 pianos, violino e violoncelo
1973 Portrait de Dagoberto Violão solo 1974 Livro para Seis Cordas Violão solo 1980 Sonata Violão solo 1980 Celebratio Amoris et Gaudii (Celebracion de
I’amour et de la joie) Coral (soprano, contralto, tenor e baixo)e violão
1983 Poesilúdio no.1 Violão solo 1987 Lira de Dona Bárbara Eliodora – Cantata
The first recordings written concerning classical guitar activities in
Paraná State are from 1930s. We can proof that according with a document found at
Professor Admar Garcia’s (1916-1994) library, one of the pioneer s of classical guitar
teaching in Parana. The document is a manuscript of an arrangment for two guitars of the
piece Lagrima by Francisco Tárrega. This arrangement was made by Walter Pereira da
Silva in September, 11th, 1934 in Curitiba and Isaias Sávio (signed by Sávio in Belo
Horizonte, Capital of Minas Geraes State). A second important document found from
Garcia’s library is an anonymous review, which concernig approachs about the classical
guitar activities in Parana State in the middle of the 20th century:
Until 1960 we had few guitarists in Curitiba who knows music scores. We may count three teachers: Eugenio Martins, Waldemar Silva and Constâncio de Sousa. Although the town has some teachers, a young generation of students disagrees with the poor situation of the guitar in Curitiba. They are: Márcio Ferreira da Luz (Constâncio de Sousa’s student) and Admar Garcia (Eugênio Martins’s student). They started a new procedure to improve. 21
The guitar activities from those pioneer s were to produce master-classes by
foreign and known guitarists. This procedure arouse the attention from the government of
Paraná. In February of 1965, the State Department of Culture sponsored a master class
given by the fine Brazilian guitarist Maria Lívia São Marcos (b.1946).
Other recordings concerning classical guitar activities in Paraná in the middle of
20th century were the Radio Programs, in which the Choro Groups and Brazilian Popular
Music Ensemble played mainly at PRB2, Tingüi and Guayracá Radios. But, it was just in
the 1960s that Radio Programs improved the musical issues and brought more
information about classical guitar. In 1965, Márcio Ferreira da Luz created a Radio
Program at State High School Radio which included exclusively guitar history,
interviews, listen new recordings and biographies from the most prominent guitarist up to
that date and, of course, Andrés Segovia.
The concerts sponsored by High Society Clubs were a little bit prejudice with
guitar. A very remarkable event in Curitiba changed the behaviour of concert society. In
21 Esta crônica encontra-se na íntegra no ítem ANEXO 2.
The recitals and pedagogic activities done by foreign guitar players spread the
interest of people from Curitiba to study guitar. Cecy Mascarenhas24 was the first guitar
teacher in Curitiba and she took guitar lessons with Constâncio de Sousa, First Sargent of
the Brazilian Armyand an amateur flutist. Mascarenhas gave private guitar lessons at her
own residence. She was very talented and gave few recitals in São Paulo and Rio de
Janeiro. She moved to Rio de Janeiro in 1946 (or 1947), with her husband, where she
published a guitar method.
From the 1960s, the guitar activities in Curitiba concentrated on Conservatoires
with guitar pedagogy. Admar Garcia, founder of Academia Paranaense de Violão (APV,
guitar academy of Parana) and guitar teacher at Conservatório Carlos Wesley, is probably
the first to be included into a respectable music institution in Paraná. Although his
pedagogic concepts were closely to Tarrega’s School, Garcia developed himself as a
performer and teacher, giving popular and classical musical genres. Garcia was
responsable for the graduation of guitar teachers with remarkable notoriety, such as
Valdomiro Prodóssimo.
Valdomiro Prodóssimo (b.1944)25 nowadays is Director of Conservatório Villa-
Lobos in Curitiba, institution that was created in 1981 by him and the pianist Jane Soares
de Souza Prodóssimo, from Minas Gerais State. The Villa-Lobos Conservatoire is an
exception of the rules because opposite to have many pianists and violinists registred, it
has mainly classical guitar students. Beside this, the Conservatoire has a guitar orchestra,
conducted and organised by Prodóssimo since 1992, with 14 musicians and one CD
recorded alive. In this CD the orchestra recorded traditional repertory like Concerto em
Ré Maior for Strings and Lute, by Antonio Vivaldi (1678-1741); La Boda, by Luis
Alonso (1889-1968); and Introduction and Fandango, by Luigi Bocherini (1743-1805).
24 Informations provided on a interview given by choro guitar player Oscar Fraga to Mário da Silva
, in 5 June 2001. Until this moment, it couldn’t find any recordings or documents concerning Cecy Mascarenhas and Constâncio de Sousa in Curitiba and Rio de Janeiro.
25 Informations provided on a interview given by Valdomiro Prodóssimo at Conservatório Villa-Lobos, Curitiba, 28 May 2001.
classes of Counterpoint and Fugue, Contemporary Music, Analysis and Aesthetic. In
addition, Penalva cooperated with the foundation of Pró-Música de Curitiba, an important
institution responsible for many concert SCABI seasons during the 1970s. He was
professor of 20th Century Music and Composition at Oficina de Música de Curitiba.
Composers who have been taking part of this research and were oriented towards
Penalva’s teaching: Chico Mello, in private lessons of Composition and Counterpoint;
Norton Dudeque and João José Félix Pereira, Counterpoint studies at EMBAP; and
Guilherme Campos, in 20th Century Music and Composition classes at Oficina de Música
de Curitiba. José Penalva was an intellectual mentor and responsable for many features of
contemporary guitar repertory in Paraná, bringing new ideas from the composers that
have shaped the 20th century music.
Henrique Morozowicz gave Harmony and Composition classes at EMBAP and
Chico Mello and João José Félix Pereira studied with him.
Penalva and Morozowicz structured the graduate center of Composition and
Conducting at EMBAP in the 1970s, but unfortunately the number of declined students
and the neglected policy from the state department of education might be contribute to
close the course. The restructuring of the course only happened in 1990 and arouse the
interest of composers and professors, also from other states such as Harry Crowl (Minas
Gerais State) and Maurício Dottori (Rio de Janeiro State), to work at EMBAP. The course
grew up and it had as its first graduate student Helma Heller (b.1950) in 1996 and,
nowadays, a known composer. The second generation did the graduate degree in 2000
and some of pieces produced were performed by the EMBAP Orchestra. As an example
of this young generation which has been producing for guitar, Fernando Riederer has
given contribution with a considerable number of works for chamber music and guitar.
Arrigo Barnabé studied piano class at EMBAP from 1971 to 1973, but did his
master degree in Composition at USP (São Paulo University) in 1974. Although Arrigo
José Manyanet (1988). PROSSER, E. S. Um olhar sobre a música de José Penalva: catálogo comentado. (A look over Penalva’s music: catalogue) Curitiba: Champagnat, 2000.
Waltel Branco28 was Born in November, 22, 1929, in Paranaguá (an important
harbor at Parana State). He studied guitar with Oscar Cáceres and Othon Salero (Andrés
Segovia’s student), in Rio de Janeiro in the 50s.29 In 1953, Branco took the place of José
Menezes in the Radamés Gnatalli Sextet in Rio de Janeiro. In the same year, Branco met
Garoto (Aníbal Augusto Sardinha) and was his step at Surdina Trio, with the following
members: Garoto (guitar), Fafá Lemos (violin) and Chiquinho do Acordeom (Acordeom).
In 1962 he enrolled at Lorenzo Fernandes Conservatoire (Rio de Janeiro), where he
studied Composition with Cláudio Santoro and Paulo Silva (1892-1967), Conducting and
Composition with Alceo Bochino (Born in Curitiba in 1918). Branco also had contact
personally with Francisco Mignone, who gave him manuscripts of Menuetto and Fantasia
(1953) and Repinicando (1953) for guitar solo. Branco did a concert at Royal Palace in
1971 when he met Federico Moreno Torroba who introduced him to Segovia. At the same
year, Branco was invited to participate of Musica en Compostela Festival (Santiago de
Compostela, Spain) and under Andrés Segovia’s teaching he played Prelude 1 and Study
3, by Heitor Villa-Lobos, and Sonata E minor (Albada and Fandango) by Frederico
Moreno Torroba.
Although Branco developed musical activities mainly as a composer and
orchestra arrangment maker during the 70s and 80s, he did fine concerts as a guitar
player. In 1986, at Esther Mesquita Hall of Teatro Cultura Artística in São Paulo, Branco
performed pieces by Radamés Gnatalli and Guerra-Peixe for guitar solo, his own and by
José Menezes chamber music composition.
28 Biography information of Waltel Branco got from the: (1) interview with Mário da Silva Junior
in May, 30, 2001, at Branco’s home in Curitiba; (2) Magazine Cine Radio ACTUALIDAD MONTEVIDÉU. MAR/1955. Year II no. 972; (3) Magazine DIREÇÃO (Brasil), 1955.
29 According to Waltel Branco, it was Othon Salero who run to him music elements such as correct usage of phrasal drawing, melody and rhythm articulation.
Example 4. Arrigo Barnabé: Fragmento (1999) - 4a), cc. 5-6, 4b) 13-16, 4c) 53-56.
Liquidation aim to deprive gradually the motive-patterns of its features, dissolving them to become formless, such as in scales and arpegios passage. According to Schoenberg, the intent of liquidation is to neutralize the endless extension.
The Chico Mello guitar output concentrats in pieces for chamber music with
guitar. Chico Mello style may be seen as a structure synthesis of composition procedures
learned in Penalva’s classes, and unstructured pieces and experimenters searching for a
new style, observed in procedures made by John Cage and new generation of Latin
América composers such as Leo Brouwer, Oscar Bazán and Coriun Aharonián.32. In Do
Lado do Dedo for solo guitar, the performer is instructed to change the guitar’s tune as
similar as in “viola caipira”, a popular instrument played in countrieside of Brazil brought
by the portugueses after 1500 (Example 8). The sound result is an ambiguous taste
between the cithara (oriental instrument) and the viola caipira. The resources used are
prepared instrument, in which the performer also is instructed to introduce a pen between
guitar’s frets and strings. Another unexpected sonority is when performer plays
percussions back to the fretboard, on the neck of the guitar. According to Chico MELLO
quem afirma:
Do Lado do Dedo concerns about the sensation of “finger tact” experience to play the guitar, expanding its limits as strummed and percussive instrument and, sometime, “preparing” the instrument in a “Cage’s sense”. The quick vibration due to microtonal tune during the slowly and repetitive percussion seems to bring the guitar closer to the body, simultaneously producing sound which remind Brazilian popular instruments, like berimbau and viola caipira. The guitar is an extension of ourselves. A friendly hand, a friend to sing together. Someone strumms it, caresses its strings, asks something, and a sound is the answer33.
32 MELLO, Laura Ritzmann de Oliveira. Comparações entre os procedimentos estéticos em
Julio Cortázar em o Jogo da Amarelinha e Chico Mello em Amarelinha (Comparisons between aesthetic procedures made by Julio Cortazar (Child Games Amarelinha) and Chico Mello (Amarelinha). Monography (Specialization Course in Aesthetic and Interpretation of 20th Century Music), EMBAP, Curitiba, 2001.
33 MELLO/OCOUGNE, C. S. Música brasileira de(s)composta. Chico Mello and Silva Ocougne, violão. Berlin: Wandelweisers, 1996. 1 CD (56’19): copact digital. Preface of Compact Disc cover written by Chico Mello.
Octávio Camargo was born in Curitiba, in 1967. He did bachelor diploma in
Classical Guitar (1992) attending classes of Orlando Fraga at EMBAP. Octávio Camargo
is teacher of Harmony and Composition at Composition and Conducting Course at Escola
de Música e Belas Artes do Paraná. He developed works based on performance art which
can involve the audience with taste, smell and sounds available in the streets and not
practical with conventional theater. He has been working with four basic elements that
involves performance art: time, space, the performer's body and a relationship between
performer and audience. He created spectacles and intervention not advertised. The most
sucessfull performance created by him was Pé com cabeça (Foot with head), that earned
the recognition of the project Surface Tension: Problematics of Site Edited by Ken
Ehrlich & Brandon LaBelle. Besides his performance was chosen into this project, the
photography of the work was chosen too to be the cover book.
Surface Tension examines the conversations that occur as negotiations between cultural production and the place of its reception. Such conversations are underscored as inherently complex, embodying intersections of the imagined and the real, and the intensities surrounding art, performance and architectural productions that seek public potential. The anthology explores site-specific practice and its legacy through critical and creative essays by leading theorists, architects, and artists from around the globe35.
Camargo makes amalgamation of sound, scene and literary association, elements
that became an aesthetic action which significance is surfaced because of the corporal
presence of the performer.
35 Ken Ehrlich & Brandon LaBelle. Surface Tension: Problematics of Site, Edited by CD
selection by Stephen Vitiello Design by Louise Sandhaus Published by Errant Bodies Press with Ground Fault Recordings. Available in http://www.selektion.com/news/default.htm
4.2.3 Compositores não-violonistas da nova geração nascidos após 1953
4.2.3.1 João José Félix Pereira
a) Biography
João José Félix Pereira was born in Curitiba, in 1957, He did Bachelor Diploma
in Piano (1972) at Escola de Música e Belas Artes do Paraná. He did Bachelor in Singin
(1980) at Faculdade Paulista de Artes (School of Arts in São Paulo), where he was
attending at Sônia Kerkezian (Sing Classes), Bernardo Federowski (Conducting classes)
and Achille Pichi (Harmony and arrangements classes). Meanwhile doing the course he
started to attend at private Composition classes with Hans-Joachim Koellreutter. He
entered as a faculty member of EMBAP teaching Counterpoint (1983) and Harmony
(1984), as a substitute in José Penalva and Henrique Morozowicz’s chairs respectively.
He created the extension courses of Composition (1988) at EMBAP, which during many
students, it may be seen guitarists from Parana State as Guilherme Campos and Rogério
Budasz. He did Master degree in Semiology (1992) at PUC (Catholic University of São
Paulo), where he developed researchs inside Indian from Itatins Mountains, south of São
Paulo State. He translated from Ñandéva idiom to portuguese the statement “Ara Pyau”,
concerning about the great migration of Ñandéva tribe towards Atlantic Sea. Nowadays
he gives Counterpoint and Composition at EMBAP and gives lectures and master classes
concerning the art to make and to play the bambu (bamboo) flute. The João José Félix
Pereira’s36 output has 45 titles with a great variety of instrumentation. Besides works for
guitar solo, it can be seen: guitar inside chamber groups; piano and guitar; two pianos;
clarinet and piano; guitar duo and strings ensembles; flute, piano and percussion; piano,
saxophone and guitar, guitar quartets, choir and orchestra, orchestra with soloist
instruments, sing and instruments, chamber sing, choir with instruments. Due to his
36 PETRACA, Ricardo Mendonça. Um signo em expressão: maestro João José de Félix Pereira,
“Biografia e Catálogo de Obras: 1957-1995” (A sign of expression: J.J.Felix Pereira, Biography and Output. Monography (Specialization Course in Art History and Music) EMBAP, 1996. p. 48.
Harry Lamott Crowl Jr. Was born in Belo Horizonte, Minas Gerais State in 1958.
He went to United States in 1977 to study Viola at Westport School of Music and
Composition at Juilliard School of Music attending to Charles Jones classes. When
returned to Brasil in 1979, he studied Composition (1980) with Rufo Herrera and Willy
Correia de Oliveira at USP in Sao Paulo. In 1983 he moved to Brasília (DC), where he
was violist at Orquestra Sinfônica de Brasília (FOSB). He lived in Curitiba since 1994,
given Contemporary Music classes at EMBAP.
b) Works for guitar
Into his output for guitar has included works for guitar solo, great chamber music
groups with guitar inside. Among his works, Crowl shows serialism style with occasional
and almost unrecognizable tonal and modal procedures as it may be seen in Assimetrias
(1998) for guitar solo (Example 19). According to Harry Crowl:
The symphonic Idea of Assimetrias" is opposite to the intimist idea of the guitar.[…] The guitar is able for great music processes which, until now, belong to whom exclusively plays and writesto the instrument. Following a Brazilian Latin American tradition, I aimed create a work which could take the guitar possibilities with exceedingly sonorities as it may be seen in syntaxs used by Villa-Lobos, Ginastera and Brouwer. The genre of this work was a great challenge to me, because I am not guitarist. The result is a continue and bright sonority from this sonorous panel full of unexpected contrasts 37.
37 Interview given by Harry Crowl between e-mail, in 19/04/02.The work was recorded by Mário
da Silva into de Double CD Sonatas Austrais. HARRY CROWL, 2001
Maurício Dottori38 was born in Rio de Janeiro, in 1960. He did Bachelor Diploma
in Clarinet (1980) at Escola de Música Villa-Lobos attending José Botelho classes. He did
Composition course (1985) at Teatro Musical na Scuola di Musica di Fiesole, Italy. He
graduated Master Degree in Musicology (1991) at USP (University of São Paulo State)
and PhD in Musicology (1997) at University of Cardiff, Wales. He lived in Curitiba since
1992, when he became membership of faculty at EMBAP given Composition and
Counterpoint classes.
b) Works for guitar
He created startig by closed sets of non-traditional chords between
unconventional melody lines fragmented. The rhythm is organised alternating measured
and unmeasured duration simultanouosly. In And now the storm blast comes (1992) for
guitar quartet, Dottori uses mobiles which varies according to a maze. The work has
indeterminate procedures chosen by the guitarists with number organizazed from 1 to 8.
After the cell choice, the guitarist plays it endlessly. Although the procedure seems to be
indeterminate and improvisatory, the thinking of the piece is according to math principles.
38 PROSSER, Elisabeth Seraphim. Tendências da música contemporânea em Curitiba na
segunda metade do século XX (Tendences in Contemporary Music from Curitiba after 1950). III SIMPÓSIO LATINO AMERICANO DE MUSICOLOGIA, Fundação Cultural de Curitiba, 2000. p. 309-321.
Books sources 1 Azevedo, Luiz Heitor Correia. 150 anos de Música no Brasil (1800-1950). Rio de
Janeiro: José Olympo, 1956. 2 Barbosa, Devos; Valdinha and Anne Marie. Radamés Gantalli: o eterno
experimentador. Rio de Janeiro: FUNARTE/ Instituto Nacional de Música, 1984. 3 Carlevaro, Abel. Escuela de La Guitarra - Expoposición de La Teoría Instrumental.
Buenos Aires: Barry, 1979. 4 Diógenes de, O. J. Violão Brasileiro, 80 anos. Prefeitura Municipal de Paulicéia, 1981. 5 Dudeque, Norton Eloy História do violão. Curitiba: UFPR, 1997. 6 Mariz, Vasco. Cláudio Santoro. Rio de Janeiro: Civilização Brasileira, 1994. 7 _____. História da música no Brasil. 5ª ed. rev. ampl. Rio de Janeiro: Nova Fronteira,
2000. 8 Neves, José Maria. Música contemporânea brasileira. São Paulo: Ricordi Brasileira,
1977. 9 ______. Villa-Lobos, sua obra. 3. ed. Rio de Janeiro: Museu Villa-Lobos, 1989, 3a. ed. 10 Prosser, Elisabeth Seraphim. Um olhar sobre a música de José Penalva: catálogo
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Lítero Técnica, 1984. 12 Schoenberg,Arnold. Fundamentos da composição musical. Trad. De: Eduardo
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A1, 1996. 14 Turnbull, H.; HECK, T.F. Guitar. The New Grove’s Dictionary, Londres, 1983.
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de Arnold Schoenberg. Dissertação de Mestrado em Musicologia - ECA-USP, 1997. 197 f.
37 Egg, André. “Tetraktys” para violão de Roberto Victório. Monografia (Curso de
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40 Mello, Laura Ritzmann de Oliveira. Comparações entre os procedimentos estéticos em Júlio Cortazar em o Jogo da Amarelinha e Chico Mello em Amarelinha. Monografia (Curso de Especialização em Estética e Interpretação da Música do Século XX), EMBAP, 2001.
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Compact Discs Cover Texts and Scores Preface Sources 45 Cameron, Pedro. Estudo programado de violão. São Paulo: Irmãos Vitale, 1978. 46 Dudeque, Norton Eloy. Música Contemporânea Paranaense. Partitura, Curitiba:
UFPR, 1994. 47 Mattos, Fernando. Sons perdidos. O violão na obra musical de Bruno Kiefer. Porto
Alegre, Encarte de Compact Disc, 2000.
48 Mello/Ocougne, C. S. Música brasileira de(s)composta. Berlim: Wandelweisers Records,1996. Encarte de Compact Disc.
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