2
This work is dedicated to all who have been, are, and will be part of my life, and without whom
the present thesis would not be possible. Special thanks to my family, my dear ͞Perros de San
Roque͟, Marino Arcaro, and to Victor Candia for his wise advice.
3
INDEX
ABSTRACT ......................................................................................................................... 5
1. INTRODUCTION ........................................................................................................ 6
1.1 Cláudio Santoro ..................................................................................................... 7
1.1.1 Life and work: ................................................................................................ 7
1.1.2 Compositional Style: ...................................................................................... 7
1.1.3 Preludes for piano: ......................................................................................... 8
1.1.4 Santoro and the guitar: ................................................................................... 9
2 MATERIALS AND METHODS ................................................................................. 9
2.1 Scores and sources ................................................................................................ 9
2.2 Procedure ............................................................................................................. 10
3 RESULTS AND DISCUSSION ................................................................................. 12
3.1 Transcription process .......................................................................................... 12
3.1.1 Prelude Nº 1 “Tes Yeux” ............................................................................. 12
3.1.2 Prelúdio Nº 2 “Tes Yeux” ............................................................................ 16
3.1.3 Prelude Nº 3 “Tes Yeux” – (Adieux) ........................................................... 19
3.1.4 Prelude Nº 11 (Berceuse) ............................................................................. 20
3.1.5 Prelude Nº 12 ............................................................................................... 23
4 CONCLUSION .......................................................................................................... 25
5 ANNEXES.................................................................................................................. 26
6 BIBLIOGRAPHY AND REFERENCES ................................................................... 39
4
ABSTRACT
The principal objective of this research is to write a transcription for solo guitar of a
selection of the “34 Preludes for piano” written by Cláudio Santoro between 1946 and
1989. In doing so, it is expected that we will achieve a musical result which adds
substantial value to the original work, even in comparison to the piece in its original
instrumentation. Concurrently, it is hoped that the present work will promote the
dissemination of Santoro’s music and will contribute to the bibliography of Brazilian
music. The collected data provides insight in to the composer’s life and work, as well as
presenting a basic understanding of his musical style. Reading this paper, it is possible to
understand the process followed in creating these transcriptions. As a result, one can learn
how to apply a similar process to other pieces. The performer who performs these
transcriptions will also be able to understand the criteria for each of the decisions made. It
is my hope that this serves as a good model and at the same time gives the performer the
opportunity to reflect on this work in a deeper way.
KEY WORDS: Cláudio Santoro, guitar transcription, preludes, Brazilian music,
bossa-nova
5
1. INTRODUCTION
This works main objective is to transcribe some of the 34 Preludes for piano
composed by Cláudio Santoro. According to the composer himself, the piano was almost
always used by him more as a composition tool, (to listen to the harmony and
contrapuntual lines) then as a compositional instrument1. On the other hand the composer
had a close relationship to the guitar, having written about 7 works that features the
instrument, including solo pieces, chamber music, and even introducing the guitar in big
orchestral pieces2.
The preludes for piano written between 1939 and 1989 represent quite well
Santoro’s compositional style since it covers his entire productive career. According to
the composer Ronaldo Miranda “These preludes bring in their musical identity the
delicacy of Rio de Janeiro urban music, where Santoro lived in the 50’s, anticipating the
bossa-nova aesthetics and the style of Tom Jobim”.3
The composer had in mind the harmony and the compositional techniques as
structural pillars of this piece, and wanted to explore these much more than technical and
idiomatic aspects of the piano. Santoro was not a pianist by formation, even though it is
evident that the composer understands quite well the possibilities and limitations of the
instrument.
Some of them were transcribed by the composer himself for orchestra. Also Santoro
had approved the recording of his “Canções de Amor” for piano and voice, which are
based on these preludes, in a conception influenced by the Brazilian jazz and popular
music, using the guitar instead of the piano. Having that in mind, it is natural to assume
that the transcription of these piano pieces for the guitar would make a lot of sense.
The idea of this work is to select and transcribe some of the Santoro’s piano
preludes that are intrinsically connected with the instrumental language of the guitar.
1
“Quando abordado em uma entrevista sobre seus hábitos composicionais, incluso o uso do piano, ele
responde que nunca teve dinheiro para ter seu próprio piano, que amigos brasileiros o emprestavam a ele,
mas que na maioria das vezes, ele compunha sem o piano. Ele acredita que isso serviu de uma boa
experiência, pois na ausência do instrumento, ele foi forçado a não depender dele para compor. De acordo
com Santoro, ele se limitou ao uso do piano para ouvir as harmonias ou as linhas contrapontuais.”
(LÍVERO, 2003: 15).
2
Catalogue on the composer’s website (http://www.claudiosantoro.art.br/San_Eng/15_guitar-crono.html)
3
Sobre os prelúdios, o compositor Ronaldo Miranda, na contracapa do CD de Rodrigo Warken, afirma:
“Esses prelúdios trazem eu seu perfil sonoro a delicadeza da música urbana do Rio de Janeiro, onde Santoro
viveu na década de 50, antecipando a estética da bossa-nova e o estilo de um Tom Jobim”. (SALGADO,
2010: 15).
6
1.1 Cláudio Santoro
1.1.1 Life and work:
Santoro was the son of an official Italian bersagliere and started his musical
studies at the age of 11 years old. As a prodigy child, in 1933, he got a scholarship from
his homeland to study in the conservatory of the capital, Rio de Janeiro, where he started
to teach harmony and violin once he graduated. Starts to compose in 1938 and at this time
affiliates the Brazilian Symphonic Orchestra, and the group “Música Viva”, headed by
the German composer, Hans Joachim Koellreuter, who was living in Brazil, working to
spread the modern compositional techniques, which Santoro was the first to explore in
Brazil, even though instinctively at the beginning.(c.f Barbato, 2005)
Santoro started to have his talent and importance recognized before he turned 30.
He was laureate in composition competitions until get a scholarship from the
Guggenheim Foundation of United States in 1946. But his political views and
connections with the communism made his travel impracticable: “would be enough if his
signed a term denying his association with the Communist Party, but he refused, arguing
that he was not a political activist and that the communism was legal.”
His American visa was denied. After that Santoro got a scholarship from the
French government to study composition with Nadia Boulanger, and conducting Eugène
Bigot, and besides that cinema at Sorbonne School. The 60’s marked a brief return of the
composer to Brazil, coordinating the Music Department of the University of Brasília. But
after the military coup he suffered a lot of prejudice being stigmatized as a communist,
and was transferred to west Germany, with a scholarship from the Ford Foundation,
teaching at the Hochschule Heidelberg-Mannheim as a conducting professor. (c.f Souza,
2003)
With the mollification of the military dictatorship in Brazil, Santoro finally can
come back to Brazil, as teacher of Brasília University and organizes the National Theater
Symphonic Orchestra. In the middle of the orchestra rehearsal of the first season of 1989,
Santoro had a heart attack that took his life. (c.f Perpetuo, 2010)
1.1.2 Compositional Style:
Santoro have a huge and especially varied amount of compositions; having written
more than 500 pieces, among them solo pieces for various instruments, concertos,
7
ballet’s, chamber music, songs, movies soundtracks, electroacoustic music and others.
The composer himself divided his compositional style development in four different
periods: “atonal” period (1939 - 1947); “transition” period (1947 - 1950); “nationalist”
period (1951 - 1960) and after 1960 the “universal” period, marked by the return to
serialism. (c.f Perpetuo, 2010)
Since Santoro’s first compositions, there is a perceptible tendency to write atonal
music, although it was not consciously at first. Under influence of Koellreutter the
composer conceived and developed by himself the dodecaphonism, adapting it to his
aesthetic feelings in order to satisfy his musical expression. The music he produced in this
period is marked by experimental language combined with a strict logical construction,
and by the refusing of any connection with the folkloric Brazilian music. (c.f Souza,
2003)
According to Vasco Mariz the “Canto de Amor e Paz” for orchestra, was the piece
that marks Santoro’s stylistic change: “Was the first important piece after Santoro leaves
the dodecaphonism, although keeps a serial counterpoint besides long and lyrical phrases
in the violins solos”4. The composer considers his 5th symphony as the inauguration of a
new nationalistic phase that is marked by the folk music thematic not as the central
element of the work, being more evoke then quoted. (cf. Souza, 2003)
From 1960 onward, the direct and realistic nationalism, that Santoro adhered only
for ideological coherence, doesn’t correspond with the composer necessities. It’s notable
a tendency in his works to come back to his old musical ideas, doing a philosophical and
ideological revision of his own work using his acquired experience and maturity, and
reaching the most advanced musical experiences, that were more intense in its reflection
and deepness. Santoro experiments with aleatory and electroacoustic music, and also
backs to the serialism, but always with his own particular approach. (c.f Mattos, 2006)
1.1.3 Preludes for piano:
Cláudio Santoro composed in his career, from 1946 to 1989, 34 Preludes for
Piano, covering all of his different compositional periods. The composer himself selected
21 of these pieces for publication, excluding the preludes “Tes Yeux” N. 2 and N.3, the
preludes N. 9, N. 17, and the last ones, from Nº 26 to Nº 29. The published edition
classifies the preludes in two separated books, and numbered then differently from the
4
"Foi a primeira obra importante da fase que deixava o dodecafonismo, embora conservasse um
contraponto seriado ao /ado de longas frases líricas nos solos de violino. "
8
original manuscripts. For this thesis I worked with the numeration of the original
manuscripts. The first serie of preludes were composed from 1946 to 1950 and include
only the five first preludes. The second serie was composed between 1957 and 1989 and
consists of 29 pieces, including the five preludes collection named “Tes Yeux” all with
the same dedicatory, “Pour Lia”, written between 1957 and 1958, and the other ones,
from Prelude N. 6 to Prelude N. 29. (cf. Lívero, 2003)
1.1.4 Santoro and the guitar:
Santoro have a considerable amount of works presenting the guitar. The solo pieces
were all dedicated to important Brazilian guitarists, and are the “Estudo Nº1”, dedicated
to Geraldo Ribeiro; the “Fantasia Sul America”, dedicated to Eustáquio Grilo; and two
“Preludes” dedicated to Turíbio Santos. In chamber music he composed the trios “Briga
Dialética dos Estilos” and “Improviso a 3” written for guitar, flute and viola. He also
wrote a version of “Fantasia Sul America” for guitar and orchestra, and besides that
inserted the guitar in a big opera, dedicated to his wife Gisele Santoro, named “Alma”
written for strings, guitar, electronics, choir, amplified choir behind the stage, 2 Baritone,
1 Mezzo or Alto, Bass or Baritono and 1 Actor. (Composer’s website)
2 MATERIALS AND METHODS
2.1 Scores and sources
The first time I’ve heard about Santoro’s preludes for piano was through Victor
Candía, who suggested me the piece as the theme for this thesis, and before that I didn’t
knew the piece at all, although I knew some symphonies written by Santoro, so I was
already familiar with his music. My first contact with the piece was through a youtube
link with the audio of 12 of these preludes, played by an anonymous performer. With my
first research I discovered that there were two books of Santoro’s preludes, but I had no
clue about how many where them in total. A few days later, a pianist and friend of mine
sent me the manuscript of 12 preludes for piano, which corresponded to the ones I knew
from the recording and that was my first contact with the written music. I spent some
days reading what I could on the guitar, and I have to confess that I was not quite
satisfied, because all the preludes were basically slow, and in the same mood, and some
of them would obviously lose a lot of the musical structure in the process of the
9
transcription, so I conclude that only 3 to 5 preludes of this first book would fit on the
guitar quite well, without losing important basic elements.
After that, I started a big research trying to find the second book of preludes, which
would hopefully give me new options, contrasts and characters to work with in my
transcription. The only thing I could find for a long time was a, not so trustable, internet
information that he wrote 29 preludes, but nobody that I knew had the scores; only after a
few weeks researching I found out a master’s thesis about this preludes, written by Iracele
A. Vera Lívero de Souza, which presents not only lots of interesting information about
the composer, but also a edition of all the 34 preludes. But unfortunately the majority of
the second book of preludes presents a very different musical language from the others,
which is very pianistic and it doesn’t fit the guitar idiomatisms.
I couldn’t find for a long time any recording of the second book of preludes. The only
commercial recording I found of this works was made by Gilda Oswaldo Cruz. Besides
that, there’s an academic recording by Iracele Lívero de Souza, which is not available on
internet. Since I found the manuscripts of the scores of all the preludes, this was my only
source to make the transcription. I looked without success for the orchestral transcription
of some of this preludes made by Santoro, which are mentioned in Souza’s master thesis,
so I could get some more embraced ideas about the harmonic language, and the timber
colors that Santoro had in mind for some of this preludes.
2.2 Procedure
One of the most challenging parts of the work was to choose which preludes to
transcribe. My first criterion to the selection was how well each piece would fit on the
guitar. But trying to find a selection that makes sense as a group of pieces was really hard.
The preludes were written during more than 40 years, so they were not planned as one
single unified work. As my research was developing other criteria’s of selection came to
my mind. I started to search for pieces that not only fit well on the guitar but that would
also make sense as a group.
I tried to choose contrasting pieces of each period of the composer’s career (atonal,
transition, nationalistic, back to serialism), as if trying to resume the compositional style
of the whole work. I also thought about transcribe a group of pieces that were composed
more or less in the period, or/and with the same thematic, as for example the “Tes Yeux”
5 preludes, with the dedication “Pour Lia”, which presents an nostalgic and delicate
atmosphere that would be perfect for the guitar characteristics. Another option of
10
selection came to my mind after I read in Souza’s thesis, where is mentioned that Santoro
made orchestral versions for some of these preludes. It would be great to make a
transcription based on Santoro’s orchestral versions that would supposedly be not so
intrinsically associated with the piano technique, and without some limitations that the
instrument presents.
At first my attempt was to transcribe one piece of each Santoro’s compositional
period, but I found the atonal and serialist pieces wouldn’t fit the guitar at all, because of
some piano techniques used, that are insurmountable for the guitar. So I tried the “Tes
Yeux” preludes, but the third and fourth pieces (which were not published) would lose a
lot of structural elements that are very important for the music. I tried to find the sources
of Santoro’s orchestral transcriptions, contacting some specialists and the composer’s
family but I didn’t succeed. So, I came back for the first (and now only) criteria of
selection that I had establish, which was to choose pieces that would sound good on the
guitar.
I analyzed the compositional and instrumental techniques that were used, the pitch
range of each piece and the character of them, trying to judge which of them would fit
better on the guitar without major structural changes. Then I did the reverse procedure,
trying to fit the guitar to the music, using different transpositions, tunings and idiomatic
effects that could help to keep, and even add elements that would create the right
atmosphere and the character of the original piece. Following this criteria I choose the
first three “Tes Yeux” preludes, number one “Lento Expressivo”, number two “Andante
(Cantabile)”, number three “Lento Expressivo” (Adieux), and besides those, the preludes
number 11 “Andante” and number 12 “Andante Expressivo”. Coincidentally all the
pieces are from Santoro’s nationalistic period production.
The majority of Santoro’s works does not make the use of key signature. I decided to
not to put the key signature in any of the preludes, following the composer’s decision.
Naturally, putting a key signature would make the reading of the music easier for the
performer, meanwhile would be supposedly easier to the composer as well to write with
the key signature, but he decided not do so. I have come to the conclusion that Santoro’s
decision aim to make it as clear as possible that his preludes are not merely tonal music,
and that he had this in mind in the process of the composition as a meaningful symbolic
element.
11
The most substantial changes I had to do in the process of the transcription was
inverting a couple chords, changing some octaves, and omitting a few chords notes,
which were essentially fifths and octaves that are not so important harmonically speaking.
All the modifications were made aiming a more appropriate musical result, regarding the
playability and the proper character of each piece.
These preludes of the nationalistic period of Santoro’s compositions served as basis of
another Santoro’s work, the “Canções de Amor” for voice and piano. The Prelude Nº1
and Nº 2 were used, respectively, in its entirety in the movements “Ouve o Silêncio” and
“Em Algum Lugar”, which are basically a version of the two preludes with lyrics. Besides
that both works share the same delicate and ethereal atmosphere. I understand that the
composer had already the concept of the popular songs in mind when composing these
preludes. Having that in mind I tried to explore all the possibilities that the transcription
give me to evoke the vocal popular Brazilian music that’s presented in Santoro’s music.
3 RESULTS AND DISCUSSION
3.1 Transcription process
3.1.1 Prelude Nº 1 “Tes Yeux”
The original tonal center is around C minor. Playing the original without transposing
would not be a good option because besides the fact that is not a natural key for the
guitar, in the bar 7 for example, would be necessary a major inversion of the basses,
which would change a lot the structure and the color of this passage.
Figure 1 – 6th and 7th bar in the original key.
The first transposition I tried was in a minor second bellow, at first with normal tuning
and then tuning the 6th string in D. I found that it’s a more natural key for the guitar,
12
where I could use more open strings in important moments, for example in the first chord
of the 5th bar
Figure 2 – 5th bar in B minor
5th bar – Transcription
But then the 15th and 16th bar would be very hard to play
Figure 3 – 15th and 16th bar in B minor
15th and 16th bar – Transcription
The final transposition I found that would solve all of this problems was, a minor
second above the original, with the tonal center around C sharp minor, which is not a very
natural key for the guitar, but was the only one I found that would fit the pitch range of
the prelude in a proper way.
In bar 10th the register goes very high, which can sound out of tune in some
guitars. For that reason I decided to show to different ways to play, I and leave the
decision to the performer.
Figure 4 – 9th and 10th bar with the two options of fingering
13
9th bar – Transcription - Original fingering
9th bar – Transcription - Alternative fingering
In bars 17 and 18 I also have an alternative fingering that makes easier to play,
although it lost a little bit of the legato of the phrase.
Figure 5 – bars 17 and 18 with two different fingerings
17th and 18th bars - Original fingering
17th and 16th bar - Alternative fingering
I decided to omit the last sixteenth note at the 19th bar, to make it possible to play
the previous chord with the major 2nd interval dissonance which it’s the most important
element in this bar, and without shorten the bass note. In 20th bar, which is a repetition of
the 19th, I decided to omit the note C of the chord on the third beat, which produces the
dissonance, because since it was played in the previous bar, the listener have the illusion
that the dissonance still there; and so it’s possible to play the sixteenth note I omitted in
14
the previous bar, which is now resolving the phrase in the G sharp, in the first beat of the
21st bar.
Figure 6 – bars 19, 20 and first beat of 21, in the original and in the transcription
19th to 21th bars – Transcription
19th to 21th bars – Original
I decided to add a ritornello on the 30th bar, based on the Santoro’s song “Ouve o
silêncio”, which is intrinsically related to this prelude.
Figure 7 – bar 30 in the transcription and in the original song for piano and voice.
30th bar – Transcription
30th bar - Original
15
3.1.2 Prelúdio Nº 2 “Tes Yeux”
The original tonal center is around B flat minor. It was obvious that it would be
too hard to play in the original tone, then I decided to transpose to a minor second below
the original, with the tonal center in A minor. In the 2nd, 4th and 6th bar the same chord is
repeated at the first beat of each bar, varying only the melody. In the 2nd bar was possible
to play the chord just the way is written in the original. In the 4th bar I had to put the F
sharp of the chord one octave higher to make it possible to play. In the 6th bar I had to
omit the E to make it possible to play, which is not a major problem in both cases since
the chord was played the way is written in the 2nd bar. The color of the original chord
stays in the listener’s memory, and creates the illusion of the sound of the original chord.
Also in the 6th and the 7th bar I had to omit, and change the octave of a few notes.
Figure 8 – bars 2, 4, and 6, original and transcription
2nd bar – Transcription 2nd bar – Original
4th bar – Transcription 4th bar – Original
16
6th bar – Transcription 6th bar – Original
7th bar – Transcription 7th bar – Original
Also in the 13th bar was necessary to omit one note of the chord, which was not
inside the pitch range of the guitar. In this case would not be worth to change the octave
of this note, because in this context on it’s inserted of a 3 notes chord, this kind of
adjustment would change a lot the color of the chord and the texture density of the
passage, seeing that a 3 notes chord on the piano have a very soft effect, which I believe
that would correspond, in this specific case, to a 2 notes chord on the guitar.
17
Figure 8 – bar 13 original and transcription
13th bar – Transcription 13th bar – Original
From bar 16th to 18th I used artificial harmonics in the lower melody, as an effect
to evoke the soft and delicate mood present in the piece. I also decided to add a ritornello
at bar 18th, based on another work composed by Santoro, the song “Em Algum Lugar”,
which uses this preludes in its entirety.
Figure 9 – bars 16 to 18 original and transcription
16th to 18th bar – Transcription
16th to 18th bar – Original
18
18th bar – Song “Em algum lugar”
3.1.3 Prelude Nº 3 “Tes Yeux” – (Adieux)
The original tonal center is around B flat minor, which is evidently not a natural
key for the guitar. The best transposing key was very obvious looking at the interval
relation of the basses in the first bars.
Figure 10 – bars 1 to 4
1st to 4th bar – Transcription
1st to 4th bar - Original
It was necessary to omit various octaves that are not playable on the guitar, and
that wouldn’t have the same effect, from the 17th to the 20th bar. In order to recreate the
octave effect I used harmonics in the 20th bar.
19
Figure 12 – bars 18 to 21 original and transcription
18th to 21th bars – Transcription
18th to 21th bars – Original
3.1.4 Prelude Nº 11 – (Berceuse)
The tonal center in the original score is around C sharp minor. Due to the bass line
pedal interval relations, it was necessary to transpose the piece a major third below the
original.
Figure 13 – bars 1 to 3 original and transcription
1st to 3rd bar – Transcription
20
1st to 3rd bar – Original
In the 5th, 6th, 9th and 10th bars I decided to take a repeated note that was making
the chord harder and not adding to the harmony color.
Figure 14 – bars 5, 6, 9 e 10 original and transcription
5th and 6th bars, which are the same as 9th and 10th bar – Transcription
5th and 6th bars, which are the same as 9th and 10th bar – Original
I also decided to omit a few unimportant notes at the 15th, 18th and 19th bars. On
the 17th bar I assumed that Santoro forgot to add the sharp sing in the F (D in
transcription) of the melody, and I took the liberty to correct it.
21
Figure 15 – bars 15, 18 and 19 original and transcription
15th bar – Transcription 15th bar – Transcription
18th and 19th – Transcription
18th and 19th – Original
22
3.1.5 Prelude Nº 12
The tonal center of this prelude is around B flat minor. Because the register in this
key is too high for the guitar I choose to transpose this piece a perfect fourth lower than
the original.
In the 6th and 7th bars was necessary to omit a few notes to make it playable,
without interfering much in the harmony.
Figure 16 – bars 6 and 7 original and transcription
6th to 8th bars – Transcription
6th to 8th bars – Original
From the 18th to the 21th bar it was necessary to change the octaves, omit, and use
harmonics effects
Figure 17 – bars 18 to 21
18th to 21th bars – Transcription
23
18th to 21th bars – Original
24
4 CONCLUSION
Along the process of my research to transcribe Santoro’s Preludes, I have found much
more reasons to do so then I could imagine when I first started. Only the fact that this
work might divulge and spread the music of such an important unfairly undervalued
composer around the world is a reason good enough to make this transcription legitimate.
But much to my surprise I have found that some of these preludes played on the guitar
earns a huge added value, hybridizing with other related pieces written by Santoro, and
immersing in the composers musical world it was possible to get a very deep and
meaningful musical result, which is of no less quality in comparison with the original.
If in one hand on the guitar a few notes are transformed and omitted, in other hand a
lot of notes acquire other qualities that makes the musical result very special. Through the
vibratos, glissandos and slurs, the pieces found a deeper connection with the vocal
version; and through the huge variety of timber colors, harmonics, and other effects that
the guitar offers is possible to get closer not only to the aesthetic and mood that the
composer had in mind writing this pieces, but also to the sentiments I believe are evoked
on Santoro’s music.
25
5 ANNEXES
Transcriptions
26
27
28
29
Originals
30
31
32
33
34
35
Manuscrito – “Canções de amor” para voz e piano - “Ouve o silêncio” (baseado
no Prelúdio Nº1)
36
37
Manuscrito – Canções de amor para voz e piano - “Em algum lugar” (baseado no
Prelúdio Nº2)
38
6 BIBLIOGRAPHY AND REFERENCES
BARBATO, Silvio. "Backcover of the CD "Cláudio Santoro - São Paulo Symphony
Orchestra"." 2005.
BÉHAGUE, Gerard. "Cláudio Santoro." Oxford Music Online. n.d.
http://www.oxfordmusiconline.com.ezproxy.library.ubc.ca/subscriber/article/grov
e/music/24553. (accessed May 20, 2015).
MATTOS, Wladimir Farto Contesini de. Análise rítmico-prosódica como ferramenta
para a performance da canção: um estudo. São Paulo: Universidade Estadual
Paulista, 2006.
PERPETUO, Irineu Franco. "Cláudio Santoro - Uma Trajetória." Música Erudita
Brasileira, n.d.: 114 - 119.
SALGADO, Michele Botelho da Silva. Canções de Amor de Cláudio Santoro: análise e
contextualização da obra. São Paulo: Universidade de São Paulo, 2010.
SANTORO, Cláudio. "Dos Preludios". Max Eschig, Paris.
SANTORO, Cláudio. Prelúdios e Estudo para violão. Savart, Brasília.
SILVA, Felipe Garibaldi de Almeida. "Apontamentos analíticos sobre o Prelúdio II de
Cláudio Santoro para violão." II Jornada Acadêmica Discente – PPGMUS
ECA/USP, n.d.
SILVA, Felipe Garibaldi de Almeida . "Prelúdio I para violão de Cláudio Santoro: uma
análise musical como ferramenta para elaboração de soluções técnicas na
execução instrumental." I Jornada Acadêmica Discente – PPGMUS/USP, n.d.
SOUZA, Iracele A. Lívero. "Cláudio Santoro, Prelúdio N. 11: Interações Entre Conjuntos
de Sons e Estrutura." UNICAMP, n.d.
SOUZA, Iracele A. Vera Lívero. "Uma História em Miniaturas: Estudo analítico-
interpretativo dos Prelúdios para Piano de Cláudio Santoro." Campinas, SP:
Universidade Federal de Campinas, 2003.
The Oxford Dictionary of Music, 2nd ed. rev.. Oxford Music Online. Oxford University
Press. n.d.
39
http://www.oxfordmusiconline.com.ezproxy.library.ubc.ca/subscriber/article/opr/t
237/e8951. (accessed May 20, 2015).
ZANON, Fábio. "Programa de rádio - The Brazilian Guitar." Violão com Fábio Zanon.
n.d. http://vcfz.blogspot.com.es/2007/06/77-cludio-santoro-jorge-antunes-
souza.html (accessed April 16, 2015).
40
