An Overview of Almeida Prado's "Transtonal" System in his Cartas Celestes, First Six Volumes, for Piano Solo

Persistent Link:
http://hdl.handle.net/10150/194305
Title:
An Overview of Almeida Prado's "Transtonal" System in his Cartas Celestes, First Six Volumes, for Piano Solo
Author:
Peixoto Ferraz, Maria Helena
Issue Date:
2009
Publisher:
The University of Arizona.
Rights:
Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
Abstract:
This study attempts to demonstrate the singular synthesis of influences and compositional techniques represented by the work Cartas Celestes (Celestial Maps) for piano by José Antonio Rezende de Almeida Prado (born in Santos, São Paulo, Brazil, on February 8, 1943). Although Almeida Prado, clearly one of the more influential Brazilian composers, wrote a vast repertoire for all genres, his piano works are fundamental throughout his compositional career. This significant body of work allows one to track his evolution as a composer and to define the changing characteristics of his style within the different phases of his trajectory. This study will examine Cartas Celestes Volumes IVI, Almeida Prado's most important work for piano solo, with particular attention to Volume I. This document will also discuss "Transtonalism," the "System of Organized Resonances," and the Twenty-Four chords, all created by him. The examination of Cartas Celestes Volume I will focus on Almeida Prado's innovative compositional devices and techniques. In addition, this study will investigate the most important aspects of Almeida Prado's music, including timbre exploration and the use of the piano with emphasis on touch, attacks, pedaling, pianistic gestures, and technique.
Type:
text; Electronic Dissertation
Keywords:
ALMEIDA PRADO; CARTAS CELESTES; Maria Helena Ferraz; PIANO SOLO
Degree Name:
D.M.A.
Degree Level:
doctoral
Degree Program:
Music; Graduate College
Degree Grantor:
University of Arizona
Advisor:
Gibson, Tannis
Committee Chair:
Gibson, Tannis

Full metadata record

DC FieldValue Language
dc.language.isoENen_US
dc.titleAn Overview of Almeida Prado's "Transtonal" System in his Cartas Celestes, First Six Volumes, for Piano Soloen_US
dc.creatorPeixoto Ferraz, Maria Helenaen_US
dc.contributor.authorPeixoto Ferraz, Maria Helenaen_US
dc.date.issued2009en_US
dc.publisherThe University of Arizona.en_US
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en_US
dc.description.abstractThis study attempts to demonstrate the singular synthesis of influences and compositional techniques represented by the work Cartas Celestes (Celestial Maps) for piano by José Antonio Rezende de Almeida Prado (born in Santos, São Paulo, Brazil, on February 8, 1943). Although Almeida Prado, clearly one of the more influential Brazilian composers, wrote a vast repertoire for all genres, his piano works are fundamental throughout his compositional career. This significant body of work allows one to track his evolution as a composer and to define the changing characteristics of his style within the different phases of his trajectory. This study will examine Cartas Celestes Volumes IVI, Almeida Prado's most important work for piano solo, with particular attention to Volume I. This document will also discuss "Transtonalism," the "System of Organized Resonances," and the Twenty-Four chords, all created by him. The examination of Cartas Celestes Volume I will focus on Almeida Prado's innovative compositional devices and techniques. In addition, this study will investigate the most important aspects of Almeida Prado's music, including timbre exploration and the use of the piano with emphasis on touch, attacks, pedaling, pianistic gestures, and technique.en_US
dc.typetexten_US
dc.typeElectronic Dissertationen_US
dc.subjectALMEIDA PRADOen_US
dc.subjectCARTAS CELESTESen_US
dc.subjectMaria Helena Ferrazen_US
dc.subjectPIANO SOLOen_US
thesis.degree.nameD.M.A.en_US
thesis.degree.leveldoctoralen_US
thesis.degree.disciplineMusicen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.grantorUniversity of Arizonaen_US
dc.contributor.advisorGibson, Tannisen_US
dc.contributor.chairGibson, Tannisen_US
dc.contributor.committeememberRosenblatt, Jayen_US
dc.contributor.committeememberDecker, Pamelaen_US
dc.identifier.proquest10795en_US
dc.identifier.oclc752260942en_US
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