Date Available

5-15-2025

Year of Publication

2025

Document Type

Doctoral Dissertation

Degree Name

Doctor of Musical Arts (DMA)

College

Fine Arts

Department/School/Program

Music Performance

Faculty

Dr. Jacob Coleman

Faculty

Dr. Martina Vasil

Abstract

French composer Darius Milhaud (1892-1974) lived in Rio de Janeiro, Brazil from February 1917 to November 1918. Milhaud’s experience in Rio was overwhelmingly positive, and several of his works were influenced by this period of his life, one being a suite for solo piano titled Saudades do Brasil, Op. 67. Inspired by Brazilian popular music, this piece is an example of exoticism, a trend of writing music based on cultures other than the composer’s own. Considering that exoticism historically has the potential to perpetuate harmful stereotypes or generate false information, this research delves into Saudades do Brasil, exploring Milhaud’s Brazilian influences and his approach to them. Four genres of Brazilian popular music from the early twentieth century and some of their key artists are studied and compared to Saudades do Brasil to determine whether Milhaud approached them with sensitivity and accuracy.

To further strengthen the connection between Milhaud’s piano suite and its Brazilian influences, a chamber arrangement of Saudades do Brasil is included in this research. This arrangement for flute, guitar, and piano represents the fusion between the two cultures; flute and guitar were commonly found in the popular music Milhaud experienced, and piano maintains the thread of continuity from the original score. The chamber arrangement calls attention to Milhaud’s Brazilian influences and allows the opportunity for more performers to access this work.

Digital Object Identifier (DOI)

https://doi.org/10.13023/etd.2025.115

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