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In this article, we discuss the guitar interpretation of the aria "Assisa a piè d'un salice" from the 3rd act of the opera Otello, composed by Gioachino Rossini in 1816. Also known as the "Willow Song", this aria, sung by the character Desdemona, was transcribed by the guitarist and composer Mauro Giuliani around 1820, and is part of op. 119 of the potpourri "Le Rossiniane -- prima parte". We aim to inform about its performance by comparing its primary sources, also providing information about its emotional and dramatic context, vocal and instrumental practices and conventions of the time, and historical and stylistic information about the composers and the opera Otello. As a result, we identif ied rhythms, notes, signs, dynamics, expressive indications, and stylistic practices that allow the performance of Giuliani's adaptation to be closely aligned with Rossini's original. [ABSTRACT FROM AUTHOR]

This article sheds light on the concert and teaching activities of guitarist Milton Rodrigues Nunes (1925 - 2006), during the 1940s and 2000s. Our analysis was based on the concert programs found in Nunes's personal collection. We have analyzed his concert programs, which were organized in a series of tables showing the most performed works and their respective stylistic categories. We then carried out an analysis of the "Program of the Basic and Professional Guitar Course of the Carlos Gomes Musical Conservatory" and examined the concert programs of Nunes's students. These analyses, in turn, revealed Nunes's ideas about repertory building and instrumental pedagogy. Finally, we have highlighted the impact of his work in the city of Campinas-SP and the classical guitar enthusiasm in inland São Paulo-state during the second half of the 20th century. [ABSTRACT FROM AUTHOR]

This paper analyzes the body behavior of classical guitarist Andrés Segovia while performing Variations on a theme of Mozart, op. 9, by Fernando Sor. The main purpose of the analysis is to seek relationships between body gesture and musical material, from the theoretical basis exposed in Madeira e Scarduelli (2014, 2015) and Laban (1978). From the observation of Segovia's movements, one hopes that music students and professional musicians could reflect upon the role of the body in the performance as potentiator of musical meaning. [ABSTRACT FROM AUTHOR]

This article is part of a PhD research, which goal is to develop a course proposal for the Bachelor of Popular Guitar, which is close to the reality of students, professional situations and forms of non-formal learning. We present here a brief cropping of partial results with regard to the profile of students, developed through questionnaires given to students, alumni and candidates of the course of Popular Music major in guitar at the State University of Campinas, Campinas. The results show that the interviewees, coming from a similar learning history, demonstrate multiple interests within the course and plan their professional activity in multiple ways as well. [ABSTRACT FROM AUTHOR]

This study aims to identify the technical and stylistic arrangements commonly found in Estudios Sencillos for guitar of the Cuban composer Leo Brouwer (1939) using a comparative analytical process, and in the three follow concert pieces of the same author, selected from his three compositional phases: Danza Característica, of the first phase, La Espiral Eterna, of the second phase, and El Decamerón Negro, of the third phase. By consider the relations between the results obtained, it was possible to evaluate the pedagogical application of studies in the cited pieces. Thus, we aim to show that these studies are important Guitar student's basic formation, and could be incorporated for preparation and technical-stylistic development for practice and understanding of pieces of the highest level of the composer. [ABSTRACT FROM AUTHOR]