As more composers consciously incorporate the body into their musical works, so too should musical analyses probe these works through the lens of the body. Drawing upon Mauricio Kagel’s Repertoire from his opera Staatstheater (1970) and Marina Rosenfeld’s My Body (2019) for Rosenfeld herself and Yarn | Wire, this dissertation looks at the ways in which the body can be inextricably tied to music. In Chapter 1, I pursue a corporeal analysis of Repertoire from the perspective of disability studies. Oppressive aesthetic decrees, disability studies concepts, operas involving disabled characters, and freak shows are discussed and related to Kagel’s Repertoire. In the analysis of Rosenfeld’s My Body in Chapter 2, I examine the ways bodies sensually interact with other living and nonliving bodies through touch. By taxonomizing touch between human and dubplate as well as human and human, I show how My Body uses connection to collapse the boundaries between subject and object identifiers. In neither example can music exist in a vacuum; I demonstrate that the sound must either be seen or felt in order to be fully appreciated. Both works summon the use of the sixth sense, proprioception, in their total body approach to music-making and musical appreciation.

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O objetivo deste trabalho é analisar a relação que a peça Musik für Renaissance-Instrumente (1966), de Mauricio Kagel (1931-2008), estabelece com o material musical da tradição e das vanguardas, na segunda metade do século 20. A partir da definição de material musical em Adorno investigaremos historicamente a crítica que se delineia em sua peça com relação às posturas estéticas em questão. Este trabalho pretende refletir criticamente sobre o sentido do movimento de interpretação historicamente informada e dos movimentos de vanguarda, identificando suas convergências e afinidades estéticas. Por fim, nosso objetivo é traçar o sentido estético e filosófico da obra de Kagel no contexto musical de sua emergência, buscando refletir sobre a importância de sua obra para o contexto atual de produção musical. / The aim of this research is to analyze the relation established by Mauricio Kagel\'s Musik für Renaissance-Instrumente with traditional musical material and also with material built by the musical avant-garde from the second half of the 20th century. Based on the definition of musical material in Theodor Adorno\'s philosophy we also intend to investigate through historical perspective how Kagel\'s criticism in composition applies to both of the aforementioned tendencies. Furthermore a critical assessment of the historical interpretation movement as well as of the avant-garde has been carried out, with the main purpose of establishing their mutual aesthetical affinities. Lastly, our foremost objective was to outline the meaning of Kagel\'s composition in the context of its appearance, in order to ponder about its importance for contemporary context of musical production.

O objetivo deste trabalho é analisar a relação que a peça Musik für Renaissance-Instrumente (1966), de Mauricio Kagel (1931-2008), estabelece com o material musical da tradição e das vanguardas, na segunda metade do século 20. A partir da definição de material musical em Adorno investigaremos historicamente a crítica que se delineia em sua peça com relação às posturas estéticas em questão. Este trabalho pretende refletir criticamente sobre o sentido do movimento de interpretação historicamente informada e dos movimentos de vanguarda, identificando suas convergências e afinidades estéticas. Por fim, nosso objetivo é traçar o sentido estético e filosófico da obra de Kagel no contexto musical de sua emergência, buscando refletir sobre a importância de sua obra para o contexto atual de produção musical. / The aim of this research is to analyze the relation established by Mauricio Kagel\'s Musik für Renaissance-Instrumente with traditional musical material and also with material built by the musical avant-garde from the second half of the 20th century. Based on the definition of musical material in Theodor Adorno\'s philosophy we also intend to investigate through historical perspective how Kagel\'s criticism in composition applies to both of the aforementioned tendencies. Furthermore a critical assessment of the historical interpretation movement as well as of the avant-garde has been carried out, with the main purpose of establishing their mutual aesthetical affinities. Lastly, our foremost objective was to outline the meaning of Kagel\'s composition in the context of its appearance, in order to ponder about its importance for contemporary context of musical production.

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Made available in DSpace on 2014-06-11T19:27:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-08-06Bitstream added on 2014-06-13T20:56:32Z : No. of bitstreams: 1 gentile_jm_me_ia.pdf: 480493 bytes, checksum: 3d5783ab6a412200ddcb4fcaf0dbbf3a (MD5) / Essa pesquisa é fruto de uma interface entre música e filosofia. Trata-se de analisar o filme Ludwig van, de Mauricio Kagel, realizado em 1970 por ocasião do bicentenário de Beethoven, a partir de dois aspectos pouco conhecidos da teoria de Theodor Adorno, que aparecem sobretudo em seus últimos textos. O primeiro diz respeito a um certo uso do fragmento que está ligado à identificação com materiais musicais do passado fetichizados, não como uma retomada, mas com um uso crítico, onde os resquícios tonais aparecem como ruínas. O segundo refere-se a um redimensionamento da questão da reprodutibilidade técnica em Adorno e aponta para as possibilidades críticas da montagem cinematográfica através dos recursos da justaposição e da ruptura temporal. Ludwig van, ao fazer uma colagem com obras de Beethoven, alterando timbres e andamento, reúne esses dois aspectos. / This research springs from an interface between Music and Philosophy. It is an analysis of the film Ludwig van, by Mauricio Kagel, produced in 1970 on the occasion of the bicentenary of Beethoven; the analysis is based upon two premises not widely known within the theoretical corpus of Theodor Adorno, which are especially conspicuous in his last writings. The first is concerned with a usage of fragment that is bound to identification with fetishized musical material from the past, not for recovery, but instead recused with a deep sense of critics, where tonal reminiscences appear as ruins. The second is concerned with a reshaping of the question dealing with technical reproducibility in Adorno and points out to the critic possibilities of cinematographic montage through the resources of juxtaposition and temporal rupture. The film Ludwig van, by undertaking a collage with the Beethoven works, altering timbres and tempo, brings these two ideas together.

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