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Master's Dissertation
DOI
10.11606/D.27.2014.tde-20012015-122015
Document
Author
Full name
Juliano Taques Bittencourt Abramovay
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2014
Supervisor
Committee
Salles, Paulo de Tarso Camargo Cambraia (President)
Bortz, Graziela
Moreira, Adriana Lopes da Cunha
Title in Portuguese
Quarteto de cordas em sol menor de Claude Debussy: reiterações e aspectos formais
Keywords in Portuguese
Análise musical
Claude Debussy
Forma cíclica
Quarteto de cordas em sol menor opus 10
Reiteração
Abstract in Portuguese
O Quarteto de cordas em sol menor de Claude Debussy é uma obra marcada por importantes dicotomias. Composta em 1893, ela se encontra permeada de elementos harmônicos e formais ligados à tradição tonal e ao final do século XIX, particularmente ao compositor César Franck. Ao mesmo tempo, a peça utiliza procedimentos que são observados apenas em obras maduras do compositor, nas quais o tonalismo se encontra pouco presente, e análises que dependam exclusivamente de elementos tonais mostramse pouco eficientes para o Quarteto. Essa relação entre tradição e inovação é investigada nesta pesquisa, que traz como enfoque duas características diretamente relacionadas: a maneira como Debussy utiliza elementos repetidos nesta peça, assunto pesquisado por Sylveline Bourion, e aspectos relativos à forma cinética, elemento descrito por Richard Parks. Uma comparação entre o primeiro movimento do Quarteto e o primeiro movimento da Sonata para flauta, viola e harpa, peça do final da carreira de Debussy, é oportuna para que sejam observados elementos formais semelhantes aplicados em contextos diferentes.
Title in English
-
Keywords in English
Claude Debussy
Cyclic form
Musical Analysis
Reiteration
String quartet in g minor opus 10
Abstract in English
Claude Debussy's String quartet in G minor is a work characterized by important dichotomies. Written in 1893, the piece is permeated by harmonic and formal elements attached to the tonal tradition and to the end of the 19th century, and specially to the composer César Franck. At the same time, the Quartet uses procedures observed only in Debussy's mature works, in which the presence of tonalism is weak, and analyses that rely exclusively on tonal elements are proven to have little efficiency regarding this piece. The relation between tradition and innovation is examined in this research, which focuses on two related characteristics: the way in which Debussy uses repeated elements in this piece, a matter also examined by Sylveline Bourion, and aspects related to the kinetic form described by Richard Parks. A comparison between the Quartet's first movement and the first movement from the Sonata for flute, viola and harp, composed at the end of Debussy's career, is useful for observing similar formal elements applied in different contexts.
 
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JULIANOABRAMOVAYVC.pdf (16.59 Mbytes)
Publishing Date
2015-01-22
 
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