African and Brazilian pathways to Francisco Mignone's Brazilian Fantasies for piano and orchestra.

摘要

This essay examines the nationalistic characteristics found in the four Brazilian Fantasies for piano and orchestra, dating from 1929 to 1936, written by Brazilian composer Francisco Mignone.;Mignone's study and preoccupation with Brazilian urban and folk music, as well as with its African roots, are traceable through his piano pieces that were, in a sense, studies for the Brazilian Fantasies. This essay illustrates this process.;Following an analysis of these piano pieces, the characteristics resembling African and Brazilian music, and the unique combination of these elements, are identified in the Brazilian Fantasies. These characteristics include: most utilized rhythms, ways of drawing the melody and their intervals, harmonies, and general mood.;This essay is divided into five chapters. The first chapter presents a brief biography of Francisco Mignone including commentaries from my personal conversations with the composer's widow, Maria Josephina Mignone, who kindly allowed me to consult her collection of autographs and early editions. The second chapter begins with a social and historical overview of the African presence in Brazil, followed by a discussion of specific African dances as well as Mignone's compositions influenced by these African dances. The third chapter discusses selected Brazilian dances and popular genres of composition, nationalism in Brazilian music, and Mignone's pieces directly inspired by these subjects. The fourth chapter focuses on the analysis of the four Brazilian Fantasies and their incorporation of the dances previously discussed. The fifth chapter is a short conclusion with my final observations about the overall nationalistic influences found at the four Brazilian Fantasies.