Possibilidades de escrita e performance para trompa em dobrados nas bandas de música

• Ano de defesa: 2022
• Autor(a) principal: Lima, Avelange Amorim
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal do Rio Grande do Norte; Brasil; UFRN; PROGRAMA DE PÓS-GRADUAÇÃO EM MÚSICA
• Palavras-chave em Português: . Trompa (instrumento) - performance; Música para trompa - dobrados; Aspectos técnicos-interpretativos; Banda de música; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA
• Link de acesso: https://repositorio.ufrn.br/handle/123456789/50877

The present research aims to identify the technical-interpretative possibilities in the writing and performance of the French horn in the dobrado (a Brazilian musical genre) From this perspective, this research is divided into six sections, similar to the parts of the dobrado, namely: introduction; part A; part B; bridge; part C (trio); and final coda. The methodology is based on the bibliographic study, on the structural analysis of the singing, counter-song, center and bass functions of the musical scores, in addition to semi-structured interviews. The core of the research is identified in the three initial sections (music band, French horn and dobrado), so that the theoretical principals is based on authors such as Brum (1980), Carvalho (1994) Adle (2006), Dantas (2015), Campos (2015) and Sotelo (2008), among others. Regarding to the bridge, a consultation was carried out with fifteen student band masters working in the city of Teresina, Piauí, in order to understand the dimensions in which the French horn is similar in the dobrado’s context. It was found that the use of the French horn configures it as a central instrument, with no variation of functions, although there is a clear manifestation of new performance perspectives in this genre, due to the needs of inserting challenges to horn players, regarding the stimulus to studies of the instrument and the permanence in the band. In part C (trio), the methodological form of writing for French horn is proposed, from the identification of the essential functions of center and corner in the proposition of performances, observing the idiomatic and sound aspects of writing, correlated with the other instruments of the music band, from the French horn extension table. As a result of the research, extra French horn parts of dobrados by Batista de Melo, Avante Camaradas, Dois Corações and Barão do Rio Branco are presented, adapted for use with the original arrangements, as a possibility of writing and performing the French horn in the music band.