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Master's Dissertation
DOI
10.11606/D.27.2012.tde-07032013-095102
Document
Author
Full name
Roberto Votta
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2012
Supervisor
Committee
Salles, Paulo de Tarso Camargo Cambraia (President)
Moreira, Adriana Lopes da Cunha
Bortz, Graziela
Title in Portuguese
Pluralidade e unidade: uma análise dos processos composicionais no Balé Agon, de Igor Stravinsky
Keywords in Portuguese
Agon
Análise Musical
Balanchine
Balé
Serialismo
Stravinsky
Abstract in Portuguese
O balé Agon é considerado o ápice da produção conjunta entre Stravinsky e o coreógrafo russo George Balanchine, e sua concepção foi repleta de descontinuidades. As ideias iniciais que motivaram a composição do balé datam de 1948, entretanto, Stravinsky começou a esboçar os primeiros rascunhos somente no final de 1953 e concluiu a obra, após algumas interrupções, em meados de 1957. Durante os anos de criação do balé, Stravinsky operou mudanças significativas em seu processo composicional, alguns movimentos remetem ao diatonismo de seu período neoclássico, enquanto outros são construídos a partir de elaborações seriais, desenvolvidas pelo compositor após o início da década de 1950. Este trabalho expõe os diferentes aspectos envolvidos na concepção do balé e, através da análise dos processos composicionais presentes na obra, busca determinar pontos de conexão em meio às referências díspares estabelecidas no diálogo entre música e dança.
Keywords in English
Agon
Balanchine
Ballet
Musical Analysis
Serialism
Stravinsky
Abstract in English
The ballet Agon is considered the apex of the partnership between Stravinsky and the russian choreographer George Balanchine, and its creation was full of discontinuities. The initial ideas that motivated the composition of the ballet came up in 1948, but only in the end of 1953 Stravinsky began sketching the first drafts, and then in 1957, after some interruptions, he completed the work. During this years, Stravinsky made significant changes in his compositional process, some movements refers to the diatonicism of his neoclassical period, while others are constructed from serial elaborations, all of them developed by the composer after the 1950s. This dissertation expounds the several different aspects about the creation of the ballet and through the analysis of the compositional processes in the work, it attempts to determine the connection among the disparate references established in the dialogue between music and dance.
 
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Publishing Date
2013-03-07
 
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