Dear students, This mail is going to be a little extensive, the short summary summary is that that you are are kindly requested to send 3 things, and you must do it as soon as possible: 1. Program for your rst guitar recital (about 25 minutes) + photo + Bio (1/2 page). Send to Malena. 2. Repertoire to be interpreted in each course . Send to Malena 3. The title of your master thesis and the work to transcribe (requires approval). Send to . !. "o#he$ Master%s &ire#tor. 'he approval o the Master thesis ill be sent as soon as possible$ e re#ommend to start ith the trans#ription alread* so the trans#ription ill pla*ed in the #ourse o abio abio ,anon that begins the da* 2- o ebruar*. Program for first recital Toru Takemitsu (1930 – 1996) Folios JS Bach (1685 – 150) Suite for Lute BWV 997 Prelude Fugue Joa!u"# $o%rigo (1901 – 1999) Junto al Generalife
Miguel Besnos began playing the guitar at age 8 and since then has been studying different different repertoires, especially classical, jazz and brazilian music. Majored with honours on the Music Education Program at Federal University of Rio Grande do Sul in 2014, when he studied classical guitar with Prof. Fl ávia Domingues Alves, in 2015 ingressed on the Bachelor on Classical Guitar, where he graduated under the guidance of Prof. Paulo Inda.
Besnos attended to several musi#al estivals su#h as niversit* o Santa Maria Musi# estival$ niversit* o "io rande do Sul uitar estival and 0ampos do ordo nternational estival$ here he parti#ipated in masterclasses with Alvaro Pierri, Fabio Zanon, Paulo Martelli, Franz Halasz, Daniel Wolff, Mario Ulloa, Edelton Gloeden, among others. Miguel Besnos is currently studying in the V M áster de Guitarra Cl ássica de Alicante, Spain, where he has the oportunity to learn from masters
such as Pepe Romero, Ignacio Rodes, David Russell, Xavier DiazLatorre, Sérgio and Odair Assad, Fabio Zanon and Manuel Barrueco.
Section 1: It is the second time I ask or it! The program should be sent in the ollo"ing ormat: #$%& '(%)(SIT(* +date birthdate death- .ork to play
Section /: 'ourses on solo guitar perormance and technique
&ach students "ill have t"o onetoone lessons "hich takes about an hour! $ll ello"s "ill be present! •
*egarding the repertoire you0ll be playing during the course, you may choose "orks or movements rom them based on a ree election, although you may have noticed in the master studies0 plan that each proessor gives his class attending a speciic content! •
The guitar repertoire in the nineteenth century )roessor: &a'i% $ussell Start: o#%a*+ Ja#uar*+ 16th+ 9,00h rom %onday to Saturday, morning! .ednesday morning and aternoon! *epertoire: ernando Sor +122 4 135-ra# So#ata ./
$llegro $dagio %inueto *ond6
The Spanish guitar repertoire in the t"entieth century )roessor: g#acio $o%es Start: Thurs%a*+ Ja#uar* 6 th+ 1,00h2 ri%a* th + Satur%a* 8th
Thurs%a* e4ruar* #%+ ri%a* 3r% Satur%a*+ e4ruar* th Thursday aternoon, riday morning and aternoon 7 Saturday morning! *epertoire: 8oaqu9n *odrigo +151 4 1555Ju#to al -e#eralife 7# los Trigales %anuel )once +1/ 4 15;ariatio#s a#% ugue :as olias %e 7s/a;a<
'oncertos or guitar and orchestra, "orks or solo guitar by 8! *odrigo )roessor: Pe/e $omero Start: o#%a*+ e4ruar*+ 13 th rom %onday to Saturday! %orning and aternoon! *epertoire: %alcolm $rnold +15/1 4 /<-uitar =o#certo 8oaqu9n *odrigo +151 4 1555Ju#to al -e#eralife 7# los Trigales
The art o transcribing or guitar )roessor: a4io >a#o# Start: Su#%a*+ e4ruar*+ 6 th+ 10,00h! rom Sunday to riday, morning! .ednesday morning and aternoon! *epertoire: -eorge -ersh?i#
Selectio#s from So#g4ook (18 so#gs)< for /ia#o
The non Spanish guitar repertoire in the t"entieth century )roessor: @eigo uAii Start: o#%a*+ arch+ 15th rom %onday to Saturday! Times to be determined! *epertoire: Toru Takemitsu +153 4 1553olios %anuel )once +1/ 4 15;ariatio#s a#% ugue :as olias %e 7s/a;a< =uitar music rom South $merica )roessor: Srgio .%air Cssa% Start, o#%a*+ C/ril+ 3r%+ 9,00h rom %onday to Thursday! %orning and aternoon! *epertoire: %anuel )once +1/ 4 15;ariatio#s a#% ugue :as olias %e 7s/a;a< %arlos #obre +1535PrDlogo e Tocata ./ 65
The vihuela and baroque guitar repertoire )roessor: Ea'ier &"aFG:atorre Start: o#%a*+ a*+ #% rom %onday to Saturday! %orning and aternoon! *epertoire: :u*s %e Har'aeF (1500 – 1555I1560) a#tasia %el Primer To#o
a#tasia %el =uarto to#o
The music o 8!S! >ach on plucked instruments )roessor: a#uel Barrueco Start: o#%a*+ Ju#e+ 5throm %onday to riday, aternoon! Saturday, morning! *epertoire: 8S >ach +1<? 4 12?:ute for Suite B 99 Prelude Fugue Sarabande Gigue Double
Section 3: %aster Thesis %aster Studies in 'lassical =uitar )erormance include a %aster inal )ro@ect oriented to the assessment o kno"ledge and skills acquired by the student throughout the course! The "ork "ill be supervised by a teacher and, in accordance "ith the rules it "ill be presented and deended in an academic tribunal ater completion o the remaining sub@ects! This "ork constitutes an autonomous and personal task o the student! -eorge -ersh?i# So#g4ook tra#scri/tio# for -uitar<
C4out the T
$- )arts: The T% should include the ollo"ing sections:
1! %aking an unpublished transcription or solo guitar, "ith a maximum duration o ten minutes! /! *ecording such transcription! 3! &xplanation o the researching process in "riting, in "hich should appear as the most important point the @ustiication o the instrumental suitability o the chosen "ork! This section should ollo" the usual procedure o university academic papers +see belo"-, exposing the interpretive concept or concepts that have been used or the development o the "ork! )ersonal relections about the "ork transcribed must also be included! >- Development process: 1! The "ritten part o the research "ill have a tutorad@udicated by the %aster to the student, "ho "ill monitor its academic quality! The student should contact the tutor allotted and maintain virtual or in person tutoring "ith him or her, in order to ollo" the progress o the research! /! The "ritten research should be submitted, along "ith the recording o the transcript, not later than 31 a* 01 at the Secretariat o the %aster!
'- Deense presented to an academic tribunal!
The student should present to the academic tribunal, in the established dates +16 a#% 1 Ju#e 01- at the time and place that "ill be opportunely communicated, the ollo"ing parts or its evaluation! a- The interpretation o transcription +1 minutes maximum-! b- The oral summary o the research in "riting according to the structure o "ritten "ork +1 minutes maximum-
Structure a#% /rese#tatio# rules of ?ritte# ?ork
$- Structure o the "ritten "ork The "ork "ill ollo" the conventional organiAation o a researching "ork by the scheme belo":
Index Introduction B (b@ectives B %ethodology 'ontent Development 'onclusion $ppendices and $nnexes >ibliography and *eerences
>- )resentation rules 1! The extent o the "ritten research "ill be about / pages DI# $; ormat, 1!/ spaces! /! The drating language may be &nglish or Spanish! 3! The ront page o the paper should contain the title, author, tutor and %asters to "hich is ascribed the "ork! The irst page should also collect the approval o the tutor "ho guarantees or evaluation and the student0s signature! The second page should pick an abstract not exceeding 1? "ords and key"ords tags! The ront page o the paper should contain the title, author, tutor and %asters to "hich is ascribed the "ork! The irst page should also collect data cover the approval o the tutor "ho guarantees or evaluation and the student0s signature! The second page should include an abstract not exceeding 1? "ords and key"ords tags! ;! .ork should be done in a "ord processing program +.ord or similar-, "ith the usual ont ormats, paragraph alignment, indentation and spacing in academic "ork! In any case, the "ork must be presented according to the instructions provided in the %anual o Style o the Cniversity o $licante! +http:BBpublicaciones!ua!esBpublicaB%anual/de/estilo/"eb!pd -! ?! Tables and igures should be numbered consecutively, "ill have a suiciently explanatory title and sources o the inormation "ill be cited!
