Orientador: Antonio Rafael Carvalho dos Santos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T08:57:52Z (GMT). No. of bitstreams: 1 Sion_Roberto_D.pdf: 8247516 bytes, checksum: 8011c6724815011e3f5df6552a8f5b91 (MD5) Previous issue date: 2015 / Resumo: Esta tese pretende contribuir com reflexões sobre arranjo a partir da experiência profissional do autor. Segue-se um histórico conciso de como a escrita do arranjo se desenvolveu, do final do século XIX até hoje, nos Estados Unidos e no Brasil. O autor descreve o contexto social relativo a seu aprendizado, atuação como músico e as três diretrizes de sua atividade: a música popular brasileira, a tradição jazzística e a herança erudita. Finalmente, a criação de um arranjo exclusivo é demonstrada através de análise textual, grade de partitura e registro sonoro ao vivo pela Orquestra Jovem Tom Jobim / Abstract: This paper intend to contribute with some reflections about musical arranging from the author's professional experiencies. It is offered an historical description of its roots, from the late XIX century until today in the United States and Brazil. The author also comments the social contexts on which his learning and working were developed, emphasising the role played by brazilian popular music, jazz and classical backgrounds in his music. From this point on, it is described the researches and procedures taken in account to write an exclusive arrangement, using text explanation, original score and alive recording by Tom Jobim's Youth Orchestra / Doutorado / Processos Criativos / Doutor em Música

The importance that Franz Schuberts music has on any classical musician is almost indisputable. His output stretches over all the important genres of his time and while he never wrote solo pieces specifically for the viola, one work has gained an essential status in the viola repertoire. That work being the sonata for arpeggione and piano, D. 821. Volumes have been written on Schubert, his style, early 19th century Vienna, romanticism, classicism and the formal development of the sonata form as well as the rise of the bourgeoise music scene. Perhaps less is written on the viola and especially the arpeggione. My aim in this paper is to answer the question,” why arpeggione?”. Why does this work hold such a high status in our repertoire? I shall approach this question by both presenting the sonata in question by drawing its background and generally the style and background of Schubert and early romantic Vienna, and also by introducing two alternative early romantic sonatas, both by esteemed composers and written originally for viola. Lastly, I shall dissect the mostly arrangement-related challenges of the arpeggione sonata and discuss different reasons for it having attained such an important role in spite of its problematic suitability for the viola.

Detta är en studie om lärande- och skapandeprocesser. Mer specifikt innefattar studien en observation av hur jag arrangerar 3 låtar för olika instrument under en tidsbestämd period. De frågor som behandlas är vilka tekniker jag använder, vilka problem som uppstår och hur det fungerar att arrangera på tid. Slutsatsen av hela observationen har visat att det är en bredd av faktorer som samspelar i kompositionsprocessen. Det har visat sig att jag applicerar intuition, diskursivt tänkande, musikteoretisk teknik och erfarenhet i arrangeringen av musik. Observationen är till stor del belyst av det fenomenologiska perspektivet och fenomenologisk metod används i analysen av mitt observerade material. / This is a study about learning and creative processes. More specifically, the study contains an observation of how I arrange three songs for different instruments within a specific time limit. The questions that are accounted for in this study are what techniques I use, which problems arise and how the time limit affects the result. The result of this study shows that a variety of factors are present during my composition/arranging process. It shows that I apply intuition, discursive thinking, music theoretical techniques, and experience in the field of arranging music. The observation is, to some extent, analysed from phenomenological perspective.

I detta självständiga arbete utforskar jag, utifrån hermeneutiskt inriktad fenomenologi, mina processer i samband med komponerande och arrangerande för en septett bestående av elgitarr, elbas, trumset och fyra blåsare. Under två terminer förde jag loggbok över de olika moment där jag arbetade med denna kreativa process, moment som bestod av komponerande, lektioner med lärare samt repetition med ensemblen. Resultatet redovisas med hjälp av tematiseringarna Sökande efter ett kompositoriskt flöde, Frön som gror och växer samt Känslan av att hitta nya vägar. Dessa teman ställs i diskussionskapitlet mot tidigare forskning på området samt hermeneutiskt fenomenologiskt perspektiv. / I this thesis I have explored my processes when composing and arranging for an ensemble consisting of electric guitar, electric bass, drums and four wind instruments. During two semesters I kept a log over the different events in which I’ve been working with this creative process, events such as composing, lessons with teachers and rehearsals with the ensemble. The result is reported in the themes The search of a compositional flow, Seeds that germinate and grow and The feeling of finding new ways. These themes are in the last chapter discussed in relation to previous research on the subject and a hermeneutic phenomenological perspective.