Preludio nº 3 by Heitor Villa-Lobos

considerations on the interpretative process

Authors

  • Daniel Ribeiro Medeiros University of Pelotas (Brazil) - (UFPEL)

Keywords:

Clasical Guitar, Villa-Lobos, Prelúdio nº3, Performance practice

Abstract

This study presents an interpretation of the guitar solo piece Prelúdio nº 3 by Brazilian composer Heitor Villa-Lobos. The analytic process is based on concepts like historically informed performance (WALLS, 2002) and informed intuition (RINK, 2007), beyond other authors. The case study presented here has the intuition and musical understanding reinforced by aesthetic and stylistic aspects. Primarily, attention is paid to harmonic and ornamental characteristics (aesthetic and stylistic elements); secondly, an analysis of the piece based on parameters such as the formal plan, temporality and dynamic (RINK, 2007), and groupings (JACKENDOFF; LERDAHL, 1983) is presented.

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Author Biography

Daniel Ribeiro Medeiros, University of Pelotas (Brazil) - (UFPEL)

Daniel Ribeiro Medeiros has a Bachelor's degree in Music - Guitar major at Federal University of Pelotas (2004) and Master's degree in Music (Interpretation/Creative Processes: Theory, Music Creation and Aesthetics) at Federal University of Parana (2010), under supervision of Prof. Dr. Norton Dudeque. In his researches, he has addressed issues related to Music Theory, Analysis and Historiography. These works involve investigations within the so-called "cultured" music and popular music, such as rock, Latin American music (Rio Grande do Sul, Uruguay and Argentina) and concert music. Under the guidance of Dr. Isabel Porto Nogueira, he is a doctoral student in the Graduate Program in Social Memory and Cultural Heritage of the Federal University of Pelotas, whose project involves the study of popular music (rock) from an interdisciplinary approach linked to social conformations and identities (Social Anthropology, Memory and Identity, Ethnomusicology, Oral History).

References

DUDEQUE, Norton Eloy. História do Violão. Curitiba: Ed. da Universidade Federal do Paraná, 1994.

GOLDSPIEL, Alan. A new look at musical structure and the guitar in the music of Villa-Lobos. Soundboard Magazine, n.2, p.7-13, 2000.

GREEN, Douglass. Form in tonal music: an introduction to analysis. New York: Holt, Rinehart and Winston, 1979.

HILL, Peter. From score to sound. In: Musical Performance. A Guide to Understanding. Cambridge: CUP, p.129-143, 2002.

JACKENDOFF, Ray; LERDAHL, Fred. A generative theory of tonal music. London: MIT Press, 1983.

JAFFEE, Michael. Harmony in the solo guitar music of Heitor Villa-Lobos. Guitar Review. New York, n.29, p.18-22, 1966.

PRADA, Teresinha. Violão: de Villa-Lobos a Leo Brouwer. São Paulo: Terceira Margem, 2008.

RINK, John. Análise e (ou?) performance. Cognição & Artes Musicais/Cognition & Musical Arts. v.2, n.1, p.25-43, 2007.

SANTOS, Turíbio. Heitor Villa-Lobos e o violão. Rio de Janeiro: Museu Villa-Lobos, 1975.

VILLA-LOBOS, Heitor. Guitar Etudes. Paris: Max Eschig, 1953. Violão solo.

VILLA-LOBOS, Heitor. Cinq Préludes. Paris: Max Eschig, 1954. Violão solo.

WALLS, Peter. Historical Performance and the modern performer. In: Musical Performance. A Guide to Understanding. Cambridge: CUP, p.17-34, 2002.

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Published

2015-06-10

How to Cite

Medeiros, Daniel Ribeiro. 2015. “Preludio Nº 3 by Heitor Villa-Lobos: Considerations on the Interpretative Process”. Per Musi, no. 31 (June):1-26. https://periodicos.ufmg.br/index.php/permusi/article/view/38825.

Issue

No. 31 (2015): General Topics

Section

Articles in Portuguese/Spanish

License

Copyright (c) 2015 Per Musi

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