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Doctoral Thesis
DOI
https://doi.org/10.11606/T.27.2020.tde-26022021-223142
Document
Author
Full name
Eduardo Fabricio Luciuk Frigatti
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2020
Supervisor
Committee
Mello Filho, Silvio Ferraz (President)
Kimizuka, Yuri Sizuo
Dottori, Mauricio Soares
Martinelli, Leonardo
Zuben, Paulo Roberto Ferraz von
Title in Portuguese
Polifonia e Contraponto: análise do uso de procedimentos contrapontísticos durante o século XX para criação de novas obras musicais
Keywords in Portuguese
Composição
Contraponto
Estética da Sonoridade e Sonorismo
Música do século XX
Polifonia
Abstract in Portuguese
Este trabalho pesquisou a polifonia e o contraponto na música do século XX. Partindo de textos e relatos de compositores sobre a polifonia e o contraponto, investiguei o novo uso de procedimentos contrapontísticos, assim como o surgimento de novas práticas polifônicas, observando concepções das ciências cognitivas (formuladas por Bregman e Tenney) para amparar a discussão das práticas polifônicas que emergiram a partir do paradigma da sonoridade. Dessa forma, foram analisados os trabalhos de Schoenberg, Webern, Boulez, Stockhausen, Xenakis, Ligeti, Penderecki, Carter, Berio, Lutoslawski, Nono, Reich, Adams, Pärt, Sciarrino e Crumb. Constatei diferentes usos do contraponto que foram posteriormente aplicadas em novas composições de minha autoria, das quais quatro são discutidas no presente trabalho.
Title in English
-
Keywords in English
Composition
Counterpoint
Music of the 20th Century
Polyphony
Sonorism
Abstract in English
In this work I investigated polyphony and counterpoint in music of the 20th century. Basing the research on the composers' texts and reports on polyphony and counterpoint, I investigated the new use of counterpoint procedures, as well as the emergence of new polyphonic practices. I was observing ideas of cognitive scientists (Bregman and Tenney) to support the discussion about polyphonic practices that emerged from the sound paradigm. Thus, the works of Schoenberg, Webern, Boulez, Stockhausen, Xenakis, Ligeti, Penderecki, Catter, Berio, Lutoslawski, Nono, Reich, Adams, Pärt, Sciarrino and Crumb were analyzed. I've found diverse uses of the practice of counterpoint that then I applied in my new compositions, four of which are discussed in this work.
 
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Publishing Date
2021-03-01
 
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