Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-04-01T19:33:09Z No. of bitstreams: 1 FredericoArantesNable_DISSERT.pdf: 898485 bytes, checksum: 6e98b154b756c77b06de731a02976916 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-04-07T00:07:52Z (GMT) No. of bitstreams: 1 FredericoArantesNable_DISSERT.pdf: 898485 bytes, checksum: 6e98b154b756c77b06de731a02976916 (MD5) / Made available in DSpace on 2016-04-07T00:07:52Z (GMT). No. of bitstreams: 1 FredericoArantesNable_DISSERT.pdf: 898485 bytes, checksum: 6e98b154b756c77b06de731a02976916 (MD5) Previous issue date: 2015-06-12 / A pe?a Sept Papillons de Kaija Saariaho ? considerada uma obra de destaque na produ??o atual para violoncelo. O presente trabalho busca contextualiz?-la e oferecer reflex?es sobre as dificuldades t?cnicas encontradas em seu estudo, discorrendo tamb?m sobre conceitos importantes para a interpreta??o. Como procedimento metodol?gico foram estudados autores como MOISALA (2009) e VICTORIO (2015) que d?o fundamenta??o ao entendimento do processo composicional e ? an?lise dos gestos propostos pela compositora. Em um segundo momento foi realizada uma entrevista com Natasha Farny, uma violoncelista reconhecida por sua performance da obra, a qual utilizamos como refer?ncia junto ? performance da coreana Seung Ri Jung e a grava??o do violoncelista Anssi Karttunen, a quem foi dedicada a pe?a. Concomitantemente ao estudo do material bibliogr?fico e realiza??o das entrevistas, a pe?a foi trabalhada e apresentada no ?mbito do PPGMUS-UFRN. A experi?ncia obtida pelos recitais e pela pesquisa da obra resultou em sugest?es para violoncelistas interessados no estudo e na performance da mesma. / Sept Papillons by Kaija Saariaho is a relevant piece in the contemporary cello repertoire. This research aims to study the context of the piece and approaches the technical and musical challenges presented in the work. As a methodological procedure, authors like MOISALA (2009) and VICTORIO (2015) were studied, giving basis to the understanding of the compositional process and to the analysis of the gestures proposed by the composer. Following, an interview was carried out with Natasha Farny, a cellist recognized for her performance of the work and utilized as reference, together with the Korean cellist Seung Ri Jung?s performance and the recording of Anssi Karttunen, to whom the piece was dedicated. Whilst the research of the bibliographical material and the interviews were taking place, the piece was studied and performed at the Masters of Music Program at UFRN. The experience obtained by the recitals and the research resulted in suggestions for cellists interested in its study and performance.

Cette thèse étudie trois compositeurs reliés autour du courant « musiquespectrale » dont les pensées et les oeuvres sont fortement marquées dans un premiertemps par la prise de conscience de la nature « dynamique » du son : Giacinto Scelsi,Gérard Grisey et Kaija Saariaho, trois compositeurs représentant trois périodesdifférentes dans l’histoire du courant spectral. Dans leurs oeuvres et leurs écritsthéoriques, plusieurs questions s’élèvent ou dérivent de la conception « énergétique »du matériau et dépassent le simple cadre de celui-ci : la perception, la forme, le tempsmusical, l’expressivité, le rapport à la tradition, etc. Plus généralement, une questionessentielle se pose : qu’est-ce qui existe au-delà du son, au-delà de l’énergie àl’intérieur du son ?Pour répondre à cette question, cette recherche se base sur des analyses deplusieurs oeuvres de ces trois compositeurs tout en gardant à l’esprit la conceptionadornienne du matériau qui met en cause l’idée « naturaliste » de celui-ci et l’idée du« son » isolé comme auto-suffisant. Plusieurs catégories, comme « médiation »,« articulation », « tradition », « histoire », « culture/nature », entrent en jeu. Ainsi,cette étude est parvenue à mettre en relief trois différentes « esthétiques » qui sedéveloppent à partir d’une base commune de « l’énergie sonore » comme porteuse dela forme musicale — l’esthétique de l’énergie sonore, l’esthétique du processus, etl’esthétique de l’expression, trois esthétiques qui semblent montrer une évolution versune « interpénétration de l’énergétique et de la sémiotique ». / This thesis studies three composers connected around the "spectral music" andwhose thoughts and works are strongly marked at first by the awareness of the"dynamic" nature of sound: Giacinto Scelsi, Gérard Grisey and Kaija Saariaho, threecomposers representing three different periods in the history of the spectral current. Intheir works and their theoretical writings, several questions arise or derive from the"energetic" conception of the material and go beyond the framework of the material:perception, form, musical time, expressivity, relation to the tradition, etc. Moregenerally, an essential question arises: what exists beyond the sound, beyond theenergy within the sound?To answer this question, this research analyses several works by the threecomposers while keeping in mind the adornian conception of material whichquestions the "naturalist" idea of material and the idea of an isolated sound as selfsufficient.Several categories, such as "mediation", "articulation", "tradition","history", "culture / nature" come into play. Thus, this study has managed to highlightthree different "aesthetics" that develop from a common base of "sound energy" as thebearer of musical form — the aesthetics of sound energy, the aesthetics of process,and the aesthetics of expression, three aesthetics that seem to show an evolutiontowards an "interpenetration of the energetics and the semiotics".

Made available in DSpace on 2016-12-08T17:06:47Z (GMT). No. of bitstreams: 1 122589.pdf: 1721483 bytes, checksum: 40c586c4f8cab8d2fc6ce42449d38024 (MD5) Previous issue date: 2015-03-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation presents a musical analysis and discusses some interpretative aspects of the piece Sept Papillons (2000) for solo cello, by the Finnish composer Kaija Saariaho (1952). A broad contextualization is presented in which we approached the composer s history, its main compositional characteristics, its aesthetic influences, the inter-relations between subjectivity and music making in her work, her gendered position in music and the importance of personal collaborations on the developing of her cello work. Musical analysis is preceded by the context of the piece, its situation on the cello repertoire, its influences and main characteristics. Due to the predominant use of natural harmonics a transcription of the original score is displayed. Musical analysis is then presented through the approach of formal and structural aspects. Research on the pitch, rhythmic, texture, timbral, gestures, instrumental and visual (metaphorical) dimensions of the piece is presented. Relations are established between the Sept Papillons building and Saariaho´s compositional processes. Technical and interpretative aspects of Sept Papillons performance and practice are addressed in dialogue with texts by performers and musicologists that work with her works and also through five interviews with cellists who have been played Sept Papillons in high level performances and recordings. It is observed the place of the body in music performance, on the sophisticated coordination on instrumental actions necessary for the performance. It is seen that Saariaho expands both the cello technique and the cello writing. Our work is justified by the contributions made to the field of knowledge on Kaija Saariaho, on analysis and performance of the contemporary repertoire, and on cello technique and cello music. / Esta dissertação apresenta uma análise musical e aborda alguns aspectos interpretativos da peça Sept Papillons (2000) para violoncelo solo, da compositora finlandesa Kaija Saariaho (1952). É apresentada uma ampla contextualização da compositora na qual abordamos sua trajetória, suas principais características composicionais, suas influências estéticas, as inter-relações entre subjetividade e fazer musical em sua obra, sua condição de gênero na música e a importância de colaborações pessoais no desenvolvimento de sua obra para violoncelo. A análise musical é precedida pela contextualização da peça, sua localização no repertório violoncelístico, suas influências e principais características. Por conta do predominante uso de harmônicos naturais uma transcrição da partitura original é apresentada. A análise musical é então realizada através da abordagem de aspectos formais e estruturais da investigação da dimensão das alturas, das dimensões rítmica, textural, tímbrica, gestual, instrumental e imagética (metafórica). São estabelecidas relações entre a construção de Sept Papillons e os processos composicionais de Saariaho. Aspectos técnicos e interpretativos da performance de Sept Papillons são abordados, em diálogo com textos de intérpretes e musicólogos (as) que trabalham com as obras da compositora e também através de cinco entrevistas realizadas com intérpretes que já apresentaram Sept Papillons em performances e gravações de alta qualidade. É observado o lugar do corpo na performance, na coordenação de sofisticadas ações instrumentais necessárias e também de que forma Saariaho expande a técnica e a escrita violoncelística. Nosso trabalho se justifica pelas contribuições oferecidas ao campo de conhecimento sobre Kaija Saariaho, sobre análise e performance do repertório contemporâneo e sobre técnica e interpretação do violoncelo.

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