Banca de DEFESA: ROBSON OLIVEIRA DE LIMA

Uma banca de DEFESA de MESTRADO foi cadastrada pelo programa.
STUDENT : ROBSON OLIVEIRA DE LIMA
DATE: 30/06/2023
TIME: 09:00
LOCAL: videoconferência
TITLE:

THE CONSTRUCTION OF THE WORK'S PERFORMANCE “PIÈCE POUR QUENTIN”, BY GEORGES BARBOTEU

KEY WORDS:

Horn. Performance construction. Georges Barboteu. Michel Cantin. New french horn school. Paris National Superior Conservatory of Music and Dance.

PAGES: 101
BIG AREA: Linguística, Letras e Artes
AREA: Artes
SUMMARY:

This research is a study on the interpretation of French music from the 19th century. XX for horn, focused on the possibilities of interpretation and construction of the performance of the piece, Piece Pour Quentin, by the composer Georges Barboteu. The research also makes us understand the motivation and characteristics brought by Barboteu to the “new French horn school”, as well as elements and methodology that favor the implementation of this new way of playing the horn in France and later the unification of the European way. how to touch. In order to carry out this research, a qualitative methodology was used, with emphasis on bibliographical and documental research and an interview with the horn player to which the work Piece Pour Quentin was dedicated. Related to the construction of the performance of the work, several works by the composer were researched, among them what we consider the greatest source of research for the interpretation of his repertoire and contemporary composers, which are his methods "Etudes Classiques Pour Cor" and " Vingt Études Concertantes Pour Cor”. This research was possible thanks to the extensive material left by the researched composer, and thanks to the large number of students who were formed by Barboteu. Interviews given by Barboteu to major magazines, filmed interviews and especially the interview of the author of the research with Michel Cantin, the horn player to which Piece Pour Quentin was dedicated, were decisive elements in the collection of tools that demonstrate the important participation of Georges Barboteu in the transition from old french horn school, to the new school. It is also possible to perceive in the speech of all his former students, the affection and, above all, the care and good humor, with which Barboteu gave him with the teaching of the horn and in the construction of the musical and moral identity of his students. As a result of the research, we have that Barboteu was a decisive figure in the transition to the new concept of the French horn school and that in order to interpret the French repertoire for this instrument, something more is needed than good technique, during the research on the construction of the Piece Pour Quentin performance, it was possible to verify that the main way of thinking about the interpretation of this repertoire is to have in-depth musical background, experience in the musical environment, excellent technique, intimacy with your instrument. And only then will we have the main thing in building a performance for this repertoire, which is good taste. Just like in the French language, which values words that sound “beautiful” together with others in the formation of a sentence, music interpreters also think that whatever tools there are for musical and world knowledge that can add to the beauty in the music will be welcome.

COMMITTEE MEMBERS:
Presidente - 1627429 - RADEGUNDIS ARANHA TAVARES FEITOSA
Interno - 1169086 - RANILSON BEZERRA DE FARIAS
Externo à Instituição - RINALDO DE MELO FONSECA