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Master's Dissertation
DOI
10.11606/D.27.2011.tde-05012012-214328
Document
Author
Full name
Marcelo José Bellini Dino
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2011
Supervisor
Committee
Jardim, Gilmar Roberto (President)
Carrasco, Claudiney Rodrigues
Costa, Rogério Luiz Moraes
Title in Portuguese
Sinfonietta e Psycho, de Bernard Hermann - intersecções entre a música de concerto e a música cinematográfica
Keywords in Portuguese
Bernard Herrmann
Intertextualidade
Música Atonal
Psicose
Sinfonietta
Trilha Sonora
Abstract in Portuguese
Desmistificando a ideia de que música para o cinema e música para as salas de concerto pertencem a universos distintos, na qual a primeira seria inferior à segunda, o presente trabalho propõe a análise musical parcial de duas obras do compositor norte-americano Bernard Herrmann: a Sinfonietta for String Orchestra e a trilha sonora do filme Psycho (Psicose). Ele se desenvolve mostrando a interação e a intersecção do que denominamos domínios da sala de concerto e do meio cinematográfico, analisando essas peças sob a ótica da intertextualidade elemento de forte presença materializado em Psycho pela reutilização de ideias e até mesmo de movimentos integrais da Sinfonietta O trabalho também retrata o desenvolvimento histórico e estético da música para o cinema e discute questões de ordem funcional e formal. É acompanhado de um CD-ROM com os áudios dos trechos analisados e as imagens das sequências do filme que contêm os trechos musicais selecionados para análise.
Title in English
Sinfonietta e Psycho, de Bernard Herrmann. Intersecções entre a música de concerto e a música cinematográfica.
Keywords in English
Atonal Music
Bernard Herrmann
Intertextuality
Psycho
Sinfonietta
Sound Track
Abstract in English
In this work an attempt is made to demystify the idea that music for film and music for concert halls belong to different universes, where the first would carry less value than the second. The Sinfonietta for String Orchestra and the soundtrack from the movie Psycho, two musical works of the american composer Bernard Herrman, will be partially analyzed. The analysis portrays the interaction and intersection of what we call the domains of the concert hall and the cinema, analizing these scores from the perspective of intertextuality which can be seen through the reuse of ideas and even whole movements from the Sinfonietta within the soundtrack of Psycho. The work also depicts the historical development, aesthetics of music for film and discusses issues of its function and form. It is accompanied by a CD-ROM with audio excerpts and sequences from the film which contains the musical excerpts selected for this analysis.
 
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MARCELO_DINO.pdf (45.75 Mbytes)
Publishing Date
2012-05-17
 
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