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Master's Dissertation
DOI
10.11606/D.27.2010.tde-10022015-113945
Document
Author
Full name
Antonino José Coutinho
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2010
Supervisor
Committee
Gloeden, Edelton (President)
Bartoloni, Giacomo
Machado Neto, Diosnio
Title in Portuguese
Retratos para três violões, de Radamé Gnattali: um arranjo a ser (re)construído
Keywords in Portuguese
arranjo
edição
manuscrito
Radamés Gnattali
violão
Abstract in Portuguese
Radamés Gnattali (1906-1988) escreveu uma extensa obra que inclui violão, dedicada, em geral, a intérpretes de sua preferência, aos quais permitia realizar modificações nas peças, propiciando melhorias em rendimento sonoro e facilidade de execução instrumental. Umas dessas obras foi um arranjo de Retratos para três violões (1984), ainda não editado, e que recebeu apenas uma gravação comercial. O manuscrito desta peça é repleto de trechos em aberto ou incompletos, com cifras, convenções rítmicas e outros símbolos próprios do compositor, que à época deveriam ser resolvidos pelo violonista Paulo Porto Alegre (1953-), com o intuito de conceder um formato final na peça. Em nosso trabalho, analisamos a fundo este manuscrito, em especial comparando-o a uma versão anterior da obra, de 1958, e chegamos à conclusão de que as intervenções no arranjo podem ser feitas por qualquer músico interessado, desde que informado, o qual denominamos, nesta dissertação, de potencial arranjador. De forma a facilitar esse processo, realizamos uma edição da peça que visa ter a mínima intervenção sobre o arranjo, mantendo todos os trechos em aberto, conforme a notação original de Gnattali.
Title in English
Radamés Gnattali's Retratos for three guitars: an arrangement to be (re)constructed
Keywords in English
arrangement
edition
guitar
manuscript
Radamés Gnattali
Abstract in English
Radames Gnattali (1906-1988) wrote a large work that includes guitar - dedicated, in general, to his favorite performers, who were allowed, by the composer to make changes in parts, providing improvements in sound performance and ease of instrumental performance. One of these works was an arrangement of Retratos for three guitars (1984), still not edited, and has received only one commercial recording. The manuscript of this piece is full of open or incomplete passages, with chord symbols, rhythmic conventions and others own composer's signs. At that time, these open passages should be solved or completed by the guitarist Paulo Porto Alegre (1953-), in order to give a final form for the piece. In our study, we analyzed this manuscript, particularly comparing it to an earlier version of the work from 1958 and concluded that interventions in the arrangement can be made by any interested musician, since informed, who we call, in this paper, potential arranger. To facilitate this process, we realized an edition of the piece with minimal intervention on the arrangement, keeping all the open passages, as Gnattali's original notation.
 
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Publishing Date
2015-02-10
 
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