Type of Document	Dissertation
Author	De Oliveira, Liduino Jose Pitombeira
Author's Email Address	ldeoli1@lsu.edu
URN	etd-04072004-102821
Title	An Original Composition, Concerto for Piano and Orchestra, and an Analysis of Camargo Guarnieri's Concerto No. 5 Para Piano E Orquestra
Degree	Doctor of Philosophy (Ph.D.)
Department	Music
Advisory Committee	Advisor Name Title Dinos Constantinides Committee Chair Cornelia Yarbrough Committee Member Jeffrey Perry Committee Member William Grimes Committee Member Jan Hinson Dean's Representative
Keywords	piano concerto camargo guarnieri brazilian nationalism brazilian music
Date of Defense	2004-03-24
Availability	unrestricted
Abstract This dissertation is in two parts. The first part is an original composition, "Concerto for Piano and Orchestra." The second part is an analysis of Brazilian composer Camargo Guarnieri's "Concerto No. 5 para Piano e Orquestra." I chose to analyze this work by Guarnieri because I am also a native from Brazil and I believe he is one of the most outstanding composers of the twentieth century. His wonderful mastery of both modern and traditional techniques of composition, the blending of these techniques with genuine folk and popular sonorities of his native culture, and a disciplined life entirely dedicated to compose, perform, conduct, and teach music are a bright inspiration to composers inside and outside Brazil. "Concerto for Piano and Orchestra" is in three movements, with three piano cadenzas. The first movement, titled "Dialectics," is in sonata allegro form and moderately fast. The central idea of this movement is the conflict between tonality and dodecaphonism. After being introduced in the exposition, the thematic groups fight during the development, and interchange their roles in the recapitulation, i.e., what is tonal becomes twelve-tone and vice-versa. The second movement, titled "Memories of Sarati," is a tribute to the place where Camargo Guarnieri spent most of his life composing and teaching. It is slow and uses graphic notation along with traditional notation. The third movement, titled "Finale," is fast and inspired by Brazilian folk and popular music. In the second part of the dissertation, the three movements of Camargo Guarnieri's "Concerto No. 5 para Piano e Orquestra" are analyzed with respect to formal design and harmonic language. In order to accomplish this latter, a system of classification of sonorities is provided in the first chapter along with historical and biographical information. In chapters two, three, and four the three movements of Guarnieri's work are analyzed in detail.Chapter five provides a summary of the analysis.
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