A obra musical Repentes de Pedro Cameron: influências idiomáticas do violão como recurso composicional
Type
masterThesis
Creator
Identifier
201681773
Title
A obra musical Repentes de Pedro Cameron: influências idiomáticas do violão como recurso composicional
Contributor
Carvalhinho, Miguel Nuno Marques
Pinho, José Francisco Bastos Dias de
Pinho, José Francisco Bastos Dias de
Subject
Pedro Cameron
Repentes
Análise estrutural
Técnicas pós-tonais
Idiomatismo musical
Structural analysis
Post-tonal techniques
Musical idiomatism
Domínio/Área Científica::Humanidades
Repentes
Análise estrutural
Técnicas pós-tonais
Idiomatismo musical
Structural analysis
Post-tonal techniques
Musical idiomatism
Domínio/Área Científica::Humanidades
Date
2017-04-08T10:19:11Z
2017-04-08T10:19:11Z
2016
2017-04-08T10:19:11Z
2016
Description
Pedro Cameron está entre os principais compositores brasileiros que se dedicam
não só à busca de novos recursos composicionais na música erudita, mas também à
união dessas características com elementos de nossa cultura nacional, tornando suas
obras bastante originais e com um caráter genuinamente brasileiro. Para este trabalho,
foi escolhida a obra Repentes, inspirada no repentismo nordestino e composta para
violão solo como peça de concerto em 1977, um conjunto de nove pequenas peças
resumindo uma boa parte das práticas pós-tonais. Sendo assim uma continuidade do trabalho
A obra musical Repente de Pedro Cameron : uma análise estrutural desenvolvido em 2012 por esse mesmo autor.
De início, são apresentado as definições sobre o termo "idiomatismo" e suas aplicações na música; em seguida serão levantadas informações biograficas do
compositor, mostrando todo seu envolvimento inicial com a música, suas influências,
principais obras e seu papel como educador, maestro, violonista e compositor; na
terceira parte, além da análise estrutural de cada um dos Repentes que aborda dois
aspectos: o da harmonia e o da estrutura formal, temos uma desenvolvida e minuciosa
análise idiomática ressaltando os aspéctos estruturais do instrumento que
influenciaram diretamente na composiçãod dos Repentes.
Mostrou-se, com isso, como uma variedade de harmonias pós-tonais, incluindo
técnicas seriais, harmonias quartais, pentatônicas e de tons inteiros, harmonia
suspensa, tonalismo livre e atonalismo livre, se ajustou a formas tradicionais, a
exemplo do binário, do ternário e do rondó. Percebeu-se também como o
conhecimento do instrumento utilizado e o domínio de seus recursos idiomáticos, por
parte do compositor, influenciaram sua construção composicional.
Abstract : Pedro Cameron is one of the main Brazilian composers dedicated not only to the search for new compositional resources in classical music, but also to joining them with elements of our national culture, which makes his works quite original and gives them a genuinely Brazilian character. For the purposes of this paper, the author selected the piece Repentes, inspired by repentismo, the musical tradition of north-eastern Brazil, and composed for solo guitar as a concert piece in 1977, a set of nine small pieces that summarize a significant part of post-tonal practices. This makes the paper a continuation of the work "A obra musical Repente de Pedro Cameron: uma análise estrutural" written in 2012 by the same author. Firstly, we present certain definitions regarding the term "idiomatism" and its application in music; what follows is biographical information about the composer, overviewing his initial involvement in music, his influences, main works and his role as educator, conductor, guitarist and composer; in the third part of the paper, a structural analysis of each of the Repentes pieces in terms of two aspects: the harmony and formal structure, followed by a developed and thorough idiomatic analysis, highlighting the structural aspects of the instrument that had direct influence on the composing process of the Repentes. This paper shows how a variety of post-tonal harmonies, including serial techniques, quartal, pentatonic harmonies and whole-note scales, suspended harmony, free tonalism and atonalism, were adapted to traditional forms, such as binary and ternary measures and the rondo. It also clarifies how the knowledge of the instruments used and the composer's masterful handling of the idiomatic resources influenced its compositional construction.
Abstract : Pedro Cameron is one of the main Brazilian composers dedicated not only to the search for new compositional resources in classical music, but also to joining them with elements of our national culture, which makes his works quite original and gives them a genuinely Brazilian character. For the purposes of this paper, the author selected the piece Repentes, inspired by repentismo, the musical tradition of north-eastern Brazil, and composed for solo guitar as a concert piece in 1977, a set of nine small pieces that summarize a significant part of post-tonal practices. This makes the paper a continuation of the work "A obra musical Repente de Pedro Cameron: uma análise estrutural" written in 2012 by the same author. Firstly, we present certain definitions regarding the term "idiomatism" and its application in music; what follows is biographical information about the composer, overviewing his initial involvement in music, his influences, main works and his role as educator, conductor, guitarist and composer; in the third part of the paper, a structural analysis of each of the Repentes pieces in terms of two aspects: the harmony and formal structure, followed by a developed and thorough idiomatic analysis, highlighting the structural aspects of the instrument that had direct influence on the composing process of the Repentes. This paper shows how a variety of post-tonal harmonies, including serial techniques, quartal, pentatonic harmonies and whole-note scales, suspended harmony, free tonalism and atonalism, were adapted to traditional forms, such as binary and ternary measures and the rondo. It also clarifies how the knowledge of the instruments used and the composer's masterful handling of the idiomatic resources influenced its compositional construction.
Access restrictions
openAccess
http://creativecommons.org/licenses/by/4.0/
http://creativecommons.org/licenses/by/4.0/
Language
por
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