Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-03-18T21:55:11Z No. of bitstreams: 1 KleberDessolesMarques_DISSERT.pdf: 2847376 bytes, checksum: 46f24e70f118ab99ec0b8aa3bbaa95af (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-03-19T00:12:57Z (GMT) No. of bitstreams: 1 KleberDessolesMarques_DISSERT.pdf: 2847376 bytes, checksum: 46f24e70f118ab99ec0b8aa3bbaa95af (MD5) / Made available in DSpace on 2016-03-19T00:12:57Z (GMT). No. of bitstreams: 1 KleberDessolesMarques_DISSERT.pdf: 2847376 bytes, checksum: 46f24e70f118ab99ec0b8aa3bbaa95af (MD5) Previous issue date: 2015-02-27 / Esta disserta??o aborda o uso de t?cnicas estendidas para saxofone na obra Minus, para saxofone soprano em Bb solo, composta por meio de colabora??o compositor-int?rprete, entre Agamenon de Morais e o saxofonista Kleber Dessoles. O texto est? organizado da seguinte maneira: a primeira parte traz um apanhado hist?rico do repert?rio de m?sica de concerto para saxofone, desde o in?cio do s?culo XX, passando pelo uso de t?cnicas estendidas para o instrumento e pelos principais personagens e fatos hist?ricos desse per?odo de tempo, dados esses obtidos a partir de pesquisa bibliogr?fica e documental; a segunda parte trata da colabora??o compositorint?rprete, desde os casos documentados nos s?culos XVIII e XIX at? chegarmos aos dias de hoje, explorando de que maneiras as colabora??es podem acontecer e as suas motiva??es, por meio de pesquisa bibliogr?fica; a terceira e ?ltima parte versa sobre a obra em si, seguida de um relato pormenorizado da colabora??o entre o compositor e o int?rprete, bem como explica??es minuciosas das t?cnicas estendidas que constam na obra (multif?nicos e flatterzunge), por meio de pesquisa bibliogr?fica, documental e relatos dos encontros entre compositor e int?rprete. Ao final do processo de colabora??o, pode-se dizer que o resultado final da obra foi derivado da soma dos conhecimentos do compositor e do int?rprete, combinados, quase como se a composi??o tivesse uma dupla autoria. O documento resultante do relato do processo pode auxiliar compositores e int?rpretes a comporem para saxofone, bem como a nortear futuras experi?ncias de colabora??o. / This dissertation deals with the use of extended techniques for the saxophone in the piece Minus (for solo saxophone in Bb), composed through a composer-performer collaboration between Agamenon de Morais and the saxophonist Kleber Dessoles. The text is organized in the following manner: the first part brings the historical background of the concert music written for the saxophone since the beginning of the 20th-century, exploring the use of extended tehcniques and the main characters and historical facts of this period, with data obtained through a literature review; the second part deals with the issue of the composer-performer collaboration, since cases documented in the 18th and 19th centuries until nowadays, exploring in which different ways collaborations may happen and the motivations behind them; the third and final part is about the specific work, followed by a detailed description of the collaboration between the composer and the interpreter, as well as detailed explanations about the extended techniques present in the work (multiphonics and flatterzunge), through bibliographic and documental research, as well as descriptions of the meetings between composer and interpreter. At the end of the collaborative process, one may say that the final result was created from a sum of the composer's knowledge with the interpreter's, almost as if the composition had double authorship. The document describing this process may help composers and interpreters in composing for the saxophone, as well as guide future collaborative experiences.