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Master's Dissertation
DOI
https://doi.org/10.11606/D.27.2019.tde-26122019-112449
Document
Author
Full name
Bruna Padovani
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2019
Supervisor
Committee
Machado Neto, Diosnio (President)
Binder, Fernando Pereira
Picchi, Achille Guido
Title in Portuguese
Estruturas discursivas nos concertos para violino de Mozart: uma análise tópica
Keywords in Portuguese
Concerto
Mozart
Tópicas musicais
Violino
Abstract in Portuguese
O advento da ópera bufa impactou fortemente a música instrumental escrita a partir de meados do século XVIII. A principal modificação vinda do estilo napolitano foi a escrita baseada num forte fluxo de contrastes de elementos expressivos. Com o intuito de estudar e analisar como essas misturas estilísticas formariam um todo coerente e discursivo, a Teoria das Tópicas, iniciada por Leonard G. Ratner, mostrou que os compositores compunham baseados em um vocabulário específico e repleto de simbolismos, cujos códigos eram decodificados pela audiência. As tópicas foram consideradas, a priori, como sujeitos que compunham o discurso musical, isto é, paisagens sonoras que constituíam determinada ambientação a qual se busca evocar. Para cada paisagem, parâmetros musicais específicos são utilizados de acordo com cada estilo que se busca retratar. Notado de maneira muito clara no universo operístico, o uso tópico foi transplantado para a música instrumental setecentista, no qual o gênero concerto também esteve incluso nesse processo. Desta forma, o presente estudo visa demonstrar quais foram as transformações que o gênero sofreu ao longo dos anos no que se refere ao seu processo composicional de forma e estruturação e como aspectos sociais do século XVIII influenciaram a produção musical da época. De posse disso, buscamos analisar, pela perspectiva da análise tópica respaldada na análise formal e harmônica, os cinco primeiros movimentos dos concertos para violino de Mozart, a fim de verificar como os estilos presentes se articulam entre si, os quais servirão de base para verificar a ocorrência de determinado padrão tópico recorrente nessas obras para violino solo.
Title in English
-
Keywords in English
Concert
Mozart
Musical topics
Violin
Abstract in English
The advent of opera buffa strongly impacted instrumental music written from the mideighteenth century. The main modification coming from the Neapolitan style was the writing based on a strong flux of contrasts of expressive elements. In order to study and analyze how these stylistic mixtures would form a coherent and discursive whole, the Topics Theory, initiated by Leonard G. Ratner, showed that composers composed based on a specific vocabulary and symbolism, whose codes were decoded. by the audience. Topics were considered, a priori, as subjects that made up the musical discourse, that is, soundscapes that constituted a certain environment to which it seeks to evoke. For each landscape, specific musical parameters are used according to each style to be portrayed. Very clearly noted in the operatic universe, topic use was transplanted into eighteenth-century instrumental music, in which the concert genre was also included in this process. Thus, the present study aims to demonstrate what were the transformations that the genre underwent over the years regarding its compositional process of form and structure and how social aspects of the eighteenth century influenced the musical production of the time. With this in mind, we seek to analyze, from the perspective of topical analysis supported by formal and harmonic analysis, the first five movements of Mozart's violin concerts, in order to verify how the present styles are articulated, which will serve as a basis to verify the occurrence of a certain recurring topical pattern in these works for solo violin.
 
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BrunaPadovaniVC.pdf (5.56 Mbytes)
Publishing Date
2019-12-26
 
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