This study presents a scholarly, authoritative edition of fourteen selected pieces from the collection Jardim Sonoro (Sonorous Garden) for piano solo by José Antonio Rezende de Almeida Prado (1943-2010). One of the most celebrated Brazilian composers of his generation, Prado wrote these works between 1952 and 2004. In three volumes, the collection presents a wide spectrum of compositional techniques and idioms in assorted levels of difficulty ranging from early to advanced levels. It comprises original and attractive teaching possibilities of unknown Brazilian twentieth-century piano literature.

This document contains four chapters. Chapter one presents an Introduction, Statement of Purpose, Scope of the Study, Need for the Study, Design and Procedures and Related Literature. Chapter two elucidates major trends in Brazilian concert music during the twentieth century, includes biographical information on Prado, describes his different compositional periods and provides an overview of his vast piano-solo output. Chapter three consists of a printed edition of fourteen works from Jardim Sonoro. Fingering and translations of French and Portuguese terms into English as well as historical background and interpretive suggestions, including stylistic guidance to Prado's piano music, are provided for each work. Chapter four presents a summary and conclusions. A bibliography precedes the appendices. Appendix A lists the titles of the seventy-nine works included in Jardim Sonoro as they appear in Prado's last compilation made in 2004. Appendix B includes notes from Prado to the author. Appendix C includes a transcription (original in Portuguese) and an English translation of the only existing interviews given by Prado about the collection Jardim Sonoro.

The information provided through the close examination of these pieces contributes to the accessibility of Prado's music for piano teachers and pianists interested in broadening their repertoire possibilities. This study aims to disseminate the scarcely known teaching piano literature of Prado, especially in the light of his recent death, and expects to arouse an interest in the late twentieth-century Brazilian piano repertoire.