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Doctoral Thesis
DOI
https://doi.org/10.11606/T.27.2017.tde-03032017-155346
Document
Author
Full name
Valdir Caires de Souza
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2016
Supervisor
Committee
Ramos, Marco Antonio da Silva (President)
Afonso, Luis Antonio Eugenio
Cury, Fabio
Garcia, Denise Hortência Lopes
Silva, Lutero Rodrigues da
Title in Portuguese
A colaboração entre o compositor e o intéprete na aplicação da técnica estendida em duas obras contemporâneas brasileiras para fagote: Vitrais e Fantasia
Keywords in Portuguese
Compositor e intérprete
Fagote
Fantasia
Técnica estendida
Vitrais
Abstract in Portuguese
Por meio da mútua colaboração, compositores e intérpretes sempre buscaram novas maneiras de explorar as possibilidades sonoras, tímbricas e técnicas dos instrumentos. Na música contemporânea, essa busca revela-se principalmente no que chamamos de técnicas estendidas. Este estudo tem como objetivo investigar, sob a ótica da cooperação compositor-intérprete, as técnicas estendidas aplicadas nas obras Vitrais, para fagote, cordas e percussão, composta por Nelson Almeida, e Fantasia, para fagote e piano, composta por Ricardo Brafman. Traça-se um panorama histórico da parceria entre o compositor e o intérprete ao longo da história da música, no qual se discute a importância de todo esse processo colaborativo. Em se tratando da música composta a partir do século XX, como é o caso das peças em questão nesta pesquisa, a metodologia utilizada baseia-se, principalmente, nos trabalhos do compositor italiano Bruno Bartolozzi e do fagotista italiano Sérgio Penazzi, que desenvolveram trabalhos colaborativos nas pesquisas relacionadas às técnicas estendidas. Além disso, por meio dos diálogos, das comunicações pessoais e das entrevistas realizadas pelo autor deste trabalho com os compositores Nelson Almeida e Ricardo Brafman, relatamos todo o processo composicional que envolveu as referidas peças. Ao focar na interpretação das obras, este trabalho traz a análise em duas partes. A primeira, sob o prisma das particularidades individuais das técnicas estendidas aplicadas, tece considerações acerca de dedilhados e das maneiras de execução. A segunda parte destaca os aspectos da forma, do ritmo, do timbre e textura e dos materiais musicais usados. Pela cooperação, obtiveram-se resultados satisfatórios na aplicação das técnicas estendidas utilizadas tanto em Vitrais quanto na Fantasia. Dessa forma, o processo colaborativo mostra-se eficiente como uma ferramenta importante no auxílio da busca do material sonoro esperado pelos compositores.
Title in English
-
Keywords in English
Bassoon
Composer and performer
Extended technique
Fantasia
Vitrais
Abstract in English
In their collaborations, composers and performers have always sought to find new ways of exploring musical instruments sonic, timbral and technical possibilities. In contemporary music today, that exploration is noticeable above all in what are called extended techniques. The present study's objective is to investigate, from the perspective of composer-performer collaboration, the use of extended techniques in the following works: Vitrais, for bassoon, strings and percussion, composed by Nelson Almeida, and composer Ricardo Brafman's Fantasia for bassoon and piano. The study offers a historical view of collaborations between composer and performer throughout the history of western music, and the importance of all this joint work is discussed. The present study focuses on works from the twentieth century; for that reason the methodology employed is based principally on the work of the Italian composer Bruno Bartolozzi, as well as that of the Italian bassoonist Sergio Penazzi. Both undertook collaborative projects in their research relating to extended techniques. In addition, the present study describes the compositional process involved in the aforementioned compositions, by means of dialogue, personal communications and interviews undertaken by the researcher with composers Nelson Almeida and Ricardo Brafman. The interpretation of these works is also discussed here, being analyzed from two perspectives. The first of these involves the specific details of the extended techniques employed; fingerings and means of execution are discussed. The second part highlights those elements of form, rhythm, timbre and texture and musical materials that were used. The collaboration that took place led to satisfactory results in the employment of extended techniques both in Vitrais and in the Fantasia. The collaborative process can thus be seen to be effective as an important tool, aiding in the search for the sonic results desired by the composers.
 
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Publishing Date
2017-03-06
 
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