Este trabalho propõe uma fundamentação teórica para investigação de determinadas técnicas de composição de música popular cantada que surgiram e se consolidaram a partir da década de 1960. Considera-se que o desenvolvimento tecnológico desse período permitiu à música popular cantada, a partir de então, realizar operações composicionais por processos de montagem, diretamente em fita. Adaptando para o campo da música formulações cunhadas originalmente por Mikhail Bakhtin para o discurso verbal, propomos um entendimento do álbum de fonogramas como um gênero complexo do discurso musical que se organiza na forma-momento. Considerando cada fonograma como um momento distinto no sentido sugerido por Stockhausen estuda-se, especialmente, a construção das sonoridades em contraste, tendo como referência as ferramentas de análise propostas por Didier Guigue para a música do século XX. Nesse contexto, discutem-se, também, as interações rítmicas de base que particularizam a música popular das Américas, resultantes do embate entre os ciclos assimétricos herdados da música tradicional africana e os compassos simétricos da música europeia dos séculos XVIII e XIX. Como conclusão, as ferramentas apresentadas são aplicadas na análise da montagem do álbum Minas, de Milton Nascimento. / This work puts forward theoretical grounds for an investigation into some musical composition techniques to sung popular music introduced and consolidated since the 1960s. It is believed that technological advances in the period enabled sung popular music artists to begin to explore new compositional approaches by physically editing recorded tapes. Transposing concepts of verbal discourse introduced by Mikhail Bakhtin into music, we advance the understanding of a recorded album as a complex genre of musical discourse organized in a moment form. Assuming each phonogram to be a self-contained moment as suggested by Stockhausen , we primarily study the weaving of contrasting sonorities by using Didier Guigues analytical framework for the music of the 20th century as reference. In this context, we also discuss the rhythmic interplay so characteristic of popular music in the Americas, which arises from the clash between the asymmetrical patterns inherited by the African music tradition and the symmetrical measures of Europe-based music of the eighteenth and nineteenth century. In conclusion, the proposed tools are applied to the analysis of the editing of Milton Nascimentos album Minas.

Este trabalho propõe uma fundamentação teórica para investigação de determinadas técnicas de composição de música popular cantada que surgiram e se consolidaram a partir da década de 1960. Considera-se que o desenvolvimento tecnológico desse período permitiu à música popular cantada, a partir de então, realizar operações composicionais por processos de montagem, diretamente em fita. Adaptando para o campo da música formulações cunhadas originalmente por Mikhail Bakhtin para o discurso verbal, propomos um entendimento do álbum de fonogramas como um gênero complexo do discurso musical que se organiza na forma-momento. Considerando cada fonograma como um momento distinto no sentido sugerido por Stockhausen estuda-se, especialmente, a construção das sonoridades em contraste, tendo como referência as ferramentas de análise propostas por Didier Guigue para a música do século XX. Nesse contexto, discutem-se, também, as interações rítmicas de base que particularizam a música popular das Américas, resultantes do embate entre os ciclos assimétricos herdados da música tradicional africana e os compassos simétricos da música europeia dos séculos XVIII e XIX. Como conclusão, as ferramentas apresentadas são aplicadas na análise da montagem do álbum Minas, de Milton Nascimento. / This work puts forward theoretical grounds for an investigation into some musical composition techniques to sung popular music introduced and consolidated since the 1960s. It is believed that technological advances in the period enabled sung popular music artists to begin to explore new compositional approaches by physically editing recorded tapes. Transposing concepts of verbal discourse introduced by Mikhail Bakhtin into music, we advance the understanding of a recorded album as a complex genre of musical discourse organized in a moment form. Assuming each phonogram to be a self-contained moment as suggested by Stockhausen , we primarily study the weaving of contrasting sonorities by using Didier Guigues analytical framework for the music of the 20th century as reference. In this context, we also discuss the rhythmic interplay so characteristic of popular music in the Americas, which arises from the clash between the asymmetrical patterns inherited by the African music tradition and the symmetrical measures of Europe-based music of the eighteenth and nineteenth century. In conclusion, the proposed tools are applied to the analysis of the editing of Milton Nascimentos album Minas.

Ce mémoire porte sur la notion de « texture » et son application dans la forme-moment théorisée par Karlheinz Stockhausen au tournant des années 1960. À partir des écrits, captations audiovisuelles de conférences et partitions du compositeur, il interroge plus particulièrement l’hétérophonie et la composition dite « statistique » dans les œuvres Momente (1962-1969) et Telemusik (1966). Stockhausen et ses contemporains évoluent dans un contexte de révolutions scientifiques et technologiques inégalé dans l’histoire de la musique. Avec l’arrivée de la musique électronique et de l’enregistrement sonore, les notions de « performance » et d’« œuvre » ne vont plus de soi pour plusieurs compositeurs de l’avant-garde européenne. En outre, le mouvement de mondialisation et le contact de plus en plus fréquent avec les musiques extraoccidentales – étroitement liés aux avancées en matière de télécommunications – exposent le public et les musiciens à de nouvelles cultures musicales. Parallèlement, l’hétérophonie, généralement définie comme la « variation simultanée d’une même mélodie » (Cooke 2001) et associée à de nombreuses musiques de tradition orale, devient une texture de plus en plus usuelle pour certains compositeurs européens comme Mauricio Kagel, Pierre Boulez et Karlheinz Stockhausen. Dans cette recherche, l’exploration de l’« espace poïétique » (Nattiez 1999 [1984]) de Stockhausen et l’étude de Momente et de Telemusik selon le modèle tripartite de Pärtlas (2016) montrent que l’hétérophonie correspond à la composition « statistique », qui permet au compositeur de répartir les hauteurs et les durées de façon aléatoire. Cette pratique se manifeste par la graphie qualitative et l’exécution plus libre par les interprètes de Momente, ainsi que par l’insertion d’échantillons sonores de musiques traditionnelles dans Telemusik. Il apparait que l’hétérophonie et la musique « statistique » s’intègrent plus largement dans une nouvelle forme d’oralité à la fois « seconde » (développée dans un contexte d’« hégémonie de l’écriture ») et « médiatisée » (Zumthor 2008) par les nouveaux dispositifs électroniques. / This thesis examines the notion of "texture" and its application in the moment-form theorized by Karlheinz Stockhausen at the turn of the 1960s. Based on the composer's writings, audiovisual recordings of conferences and scores, it considers more specifically the heterophony and the so-called "statistical" composition in the works Momente (1962-1969) and Telemusik (1966). Stockhausen and his contemporaries evolved in a context of scientific and technological revolutions unequalled in the history of music. With the advent of electronic music and sound recording, the notions of "performance" and "work" were no longer self-evident for many composers of the European avant-garde. In addition, the globalization movement and the increasing contact with non-Western music - closely linked to advances in telecommunications - exposed audiences and musicians to new musical cultures. At the same time, heterophony, generally defined as the "simultaneous variation of the same melody" (Cooke 2001) and associated with many musics of oral tradition, is becoming an increasingly common texture for some European composers such as Mauricio Kagel, Pierre Boulez and Karlheinz Stockhausen. In this study, the exploration of Stockhausen's "poietic space" (Nattiez 1999 [1984]) and the examination of Momente and Telemusik according to Pärtlas' (2016) tripartite model show that heterophony corresponds to "statistical" composition, which allows the composer to randomly distribute pitches and durations. This practice is manifested in the qualitative graphics and freer performance by the musicians in Momente, as well as in the insertion of sound samples of traditional music in Telemusik. It appears that heterophony and "statistical" music are part of a new form of orality that is both "second" (developed in a context of a "writing hegemony") and "mediated" (Zumthor 2008) by the new electronic devices.