Este trabalho apresenta o memorial de composição, a partitura e a gravação do balé Mahavidyas para dois pianos, flauta, piccolo, timpani e orquestra de cordas. O balé é integrado por sete ciclos de peças livremente inspiradas em imagens das Mahavydias, deusas do hinduísmo. Cada um dos ciclos, agrupado em dois atos, contém três movimentos. O primeiro ato é composto pela abertura e pelos quatro primeiros ciclos; o segundo, por abertura, três ciclos e coda. O Memorial inclui breve descrição das referências estéticas que estimularam as atitudes composicionais, fundamentadas no pensamento de H. J. Koellreutter e Fernando Pessoa. O relato dos processos composicionais revela os critérios expressivos e estruturais para a escolha da instrumentação e a relação desta com materiais compostos e utilizados de forma espontânea e intuitiva. / The present study presents the score, the recording, and a compositional essay on Mahavidyas, a ballet for two pianos, flute, piccolo, timpani and string orchestra. The ballet consists of seven cycles freely inspired by images of Mahavydias, goddesses of Hinduism. Each cycle contains three movements, grouped into two acts. In the first act are presented an overture and the first four cycles, while the second act presents an overture, the remaining three cycles, and the coda. The Memorial includes a brief description of aesthetic references that have informed the composition, based on the ideas of H.J. Koellreutter and Fernando Pessoa. The description of the compositional process addresses the expressive and structural criteria for the choice of instrumentation and its relation to written materials, used spontaneously and intuitively.

abstract: Rhythm is a work for percussion ensemble and narrator. The percussion ensemble includes five percussionists who each play multiple instruments. The narrator recites quotes from the book Meter as Rhythm by Dr. Christopher Hasty. The piece is in six parts with a short introduction (mm. 1-5). The structure is delineated by the quotes from Meter as Rhythm. The narrator describes an aspect of rhythm at the beginning of each section and the quote is sonically realized through the percussion ensemble. This piece experiments with different timbres and rhythmic motives. Timbral variety is achieved through grouping instruments into woods, metals, and membranes and using combinations of those groups to delineate different sections and ideas. The rhythmic motives are based on the numbers 3, 5, and 7, and appear as rhythmic values, phrase lengths, and number of repetitions. The first section states a definition of rhythm and contains all timbres and motives contained within the composition. The piece then explores the relativity of time and is represented by drums changing the speed of their notes. The third section discusses rhythm as repetition and is illustrated by repetitive rhythmic motives. The text then features rhythm as a subjective human experience and is reflected through polyrhythms played between ensemble members. What follows is a description of meter as a temporal measurement that is unchanged by rhythmic activity. By bringing back previous motives, this section reveals that all of the motives work within the same meter. In the final section, the performers play various subdivisions of the beat to show different aspects of proportion by dividing the beat in several ways. / Dissertation/Thesis / Masters Thesis Music 2018

Made available in DSpace on 2014-06-11T19:24:00Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-07-31Bitstream added on 2014-06-13T19:30:28Z : No. of bitstreams: 1 coradini_lp_me_ia.pdf: 1011820 bytes, checksum: 2368ceb5c5458228a125ebec5571a366 (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Esta pesquisa objetivou a detecção de um eixo paradigmático na composição musical hodierna, focando os últimos vinte anos de produção intelectual do século XX. Embora as várias propostas de organização musical aqui retratadas se mostrem diferentes entre si, é possível observar características comuns entre elas. O conceito de referencialismo pode ser aplicado a várias das propostas composicionais estudadas. Há hoje, uma negação à idéia de que a música seja uma entidade independente e cujo significado repouse em si mesma. Ao contrário, considera-se que a música é um fenômeno complexo que existe sobretudo no momento da escuta. / This research has aimed the detection of a paradigmatic axis in today musical composition, focusing the twenthieth century's last twenty years of intelectual production. However the diferences amongst various musical organizational propositions. However the diferences amongst various musical organizational propositions, it is possible to observe commom catacterístics among them. The concept of referecialism can be aplied to various studied composisitional propositions. There is, today, a negative idea about music as an independent entity of wich the deep meaning relies over itself. On the contrary, people considers that music is a complex phenomen that exists above all in the auditory reality.

O presente memorial consiste em uma reflexão sobre os atos criativos de um conjunto de composições, acompanhado das respectivas partituras e de registros audiovisuais. A reflexão tem início com o estabelecimento do referencial teórico, prossegue com uma abordagem de cada uma das quatro composições e é encerrada por meio de algumas conclusões a respeito dos trabalhos realizados. O enfoque adotado para a investigação é o conceito de restrições, cuja definição como elemento norteador do ato composicional, no contexto deste memorial, é elaborada no capítulo inicial. Os capítulos seguintes investigam as composições individualmente, ressaltando, à luz do conceito-chave, fatores técnicos e estéticos presentes ao longo do ato criativo e elucidando retrospectivamente decisões composicionais cujo resultado são as partituras apresentadas. O capítulo conclusivo delineia breves generalizações a respeito do trabalho realizado como um todo, assim como aponta aspectos passíveis de considerações futuras. / This paper consists in a reflection about the creative acts of a set of compositions, together with their respective scores and audiovisual recordings. The discussion begins with the establishment of the theoretical framework, proceeds with an approach of each of the four compositions and is closed by a few conclusions about the work carried out. The approach taken for the research is the concept of constraints, whose understanding and definition as a guiding element of the compositional act, in the context of this paper, is elaborated in the opening chapter. The following chapters discuss the compositions individually, noting, in light of the central concept, technical and aesthetic factors present during the creative act and retrospectively elucidating compositional decisions whose results are the presented scores. The concluding chapter outlines brief generalizations about the work as a whole as well as pointing aspects that may be subject to future considerations.

O presente memorial consta de uma reflexão sobre o processo de composição do ciclo de peças intitulado Fragmomento, acompanhado de partituras das peças e registro audiovisual. A reflexão sobre a composição do ciclo enfatiza a utilização de citações de músicas de outros compositores como ferramenta de composição. São explicitadas no trabalho as motivações para a utilização de citações no ciclo, que surgem da experiência musical do autor e de reflexões sobre o referencial teórico empregado na composição. O gerenciamento do tempo de cada peça é outro elemento central abordado no memorial, desde o planejamento de cada peça à forma final. / This work presents an essay about the compositional process of Fragmomento cycle of pieces, the score of the cycle and the recording of the concerto in DVD and CD. The essay is focused on the utilization of quotations in the pieces as a compositional tool. The work describes the motivations that led to the utilization of quotations, which has its foundations in the life experience of the author and the theoretical basis used in the work. The control of the time in the composition is also described in the work, from the beginning to the end of the compositional process.

O presente memorial consta de uma reflexão sobre o processo de composição do ciclo de peças intitulado Fragmomento, acompanhado de partituras das peças e registro audiovisual. A reflexão sobre a composição do ciclo enfatiza a utilização de citações de músicas de outros compositores como ferramenta de composição. São explicitadas no trabalho as motivações para a utilização de citações no ciclo, que surgem da experiência musical do autor e de reflexões sobre o referencial teórico empregado na composição. O gerenciamento do tempo de cada peça é outro elemento central abordado no memorial, desde o planejamento de cada peça à forma final. / This work presents an essay about the compositional process of Fragmomento cycle of pieces, the score of the cycle and the recording of the concerto in DVD and CD. The essay is focused on the utilization of quotations in the pieces as a compositional tool. The work describes the motivations that led to the utilization of quotations, which has its foundations in the life experience of the author and the theoretical basis used in the work. The control of the time in the composition is also described in the work, from the beginning to the end of the compositional process.

O presente memorial consiste em uma reflexão sobre os atos criativos de um conjunto de composições, acompanhado das respectivas partituras e de registros audiovisuais. A reflexão tem início com o estabelecimento do referencial teórico, prossegue com uma abordagem de cada uma das quatro composições e é encerrada por meio de algumas conclusões a respeito dos trabalhos realizados. O enfoque adotado para a investigação é o conceito de restrições, cuja definição como elemento norteador do ato composicional, no contexto deste memorial, é elaborada no capítulo inicial. Os capítulos seguintes investigam as composições individualmente, ressaltando, à luz do conceito-chave, fatores técnicos e estéticos presentes ao longo do ato criativo e elucidando retrospectivamente decisões composicionais cujo resultado são as partituras apresentadas. O capítulo conclusivo delineia breves generalizações a respeito do trabalho realizado como um todo, assim como aponta aspectos passíveis de considerações futuras. / This paper consists in a reflection about the creative acts of a set of compositions, together with their respective scores and audiovisual recordings. The discussion begins with the establishment of the theoretical framework, proceeds with an approach of each of the four compositions and is closed by a few conclusions about the work carried out. The approach taken for the research is the concept of constraints, whose understanding and definition as a guiding element of the compositional act, in the context of this paper, is elaborated in the opening chapter. The following chapters discuss the compositions individually, noting, in light of the central concept, technical and aesthetic factors present during the creative act and retrospectively elucidating compositional decisions whose results are the presented scores. The concluding chapter outlines brief generalizations about the work as a whole as well as pointing aspects that may be subject to future considerations.

Este trabalho apresenta o memorial de composição, a partitura e a gravação do balé Mahavidyas para dois pianos, flauta, piccolo, timpani e orquestra de cordas. O balé é integrado por sete ciclos de peças livremente inspiradas em imagens das Mahavydias, deusas do hinduísmo. Cada um dos ciclos, agrupado em dois atos, contém três movimentos. O primeiro ato é composto pela abertura e pelos quatro primeiros ciclos; o segundo, por abertura, três ciclos e coda. O Memorial inclui breve descrição das referências estéticas que estimularam as atitudes composicionais, fundamentadas no pensamento de H. J. Koellreutter e Fernando Pessoa. O relato dos processos composicionais revela os critérios expressivos e estruturais para a escolha da instrumentação e a relação desta com materiais compostos e utilizados de forma espontânea e intuitiva. / The present study presents the score, the recording, and a compositional essay on Mahavidyas, a ballet for two pianos, flute, piccolo, timpani and string orchestra. The ballet consists of seven cycles freely inspired by images of Mahavydias, goddesses of Hinduism. Each cycle contains three movements, grouped into two acts. In the first act are presented an overture and the first four cycles, while the second act presents an overture, the remaining three cycles, and the coda. The Memorial includes a brief description of aesthetic references that have informed the composition, based on the ideas of H.J. Koellreutter and Fernando Pessoa. The description of the compositional process addresses the expressive and structural criteria for the choice of instrumentation and its relation to written materials, used spontaneously and intuitively.

<p> Throughout his career, Alexander Scriabin created a bridge between traditional romantic harmony and modernistic, chromatic tendencies that ultimately led to the post-tonal era. Scriabin&rsquo;s middle period after Opus 32 displays several examples of his progressive harmony. However, Scriabin&rsquo;s transition into harmonic exploration is quite apparent in his <i>Fantasy in B minor </i>, which was written three years before his middle period is observed. This may demonstrate that Scriabin was developing his harmonic techniques much earlier in his career. </p><p> Furthermore, the thorough documentation of Scriabin&rsquo;s color associations shows that Scriabin conceived his music with a strong integration of sound-color awareness. Many moments in the <i>Fantasy</i> appear to possess relationships between sound and color, which can be found in expanded harmonic techniques and multi-timbral textures within the pianistic writing. This essay will first discuss the existing research completed on Scriabin&rsquo;s harmonic tendencies within earlier works, and then analyze the similar techniques used in the <i>Fantasy</i>. Using previous knowledge gathered about synesthesia, this essay will then examine the connections between Scriabin&rsquo;s perspective on composition and his connection to synesthesia. </p><p> In summary, Scriabin&rsquo;s unconventional voice leading, chromatic harmonic progressions, and altered tertian voicing, will be analyzed in Opus 28. Afterwards, synesthetic and multi-textural analysis will be demonstrated for the purposes of observing Scriabin&rsquo;s exploration of the pianistic soundscape and synesthetic-inspired compositional techniques.</p><p>

<p>Encumbered Existence is a three-movement programmatic work for jazz orchestra that uses specific events in African-American history to capture the struggle of African- Americans and emotions provoked by these events. The first movement, ?The State of the World,? and last movement, ?Between the World and Me,? capture painful events such as the shooting of Trayvon Martin. ?Between the World and Me? uses the dates of Martin?s birth and death as set classes to guide the piece. The second movement, ?The Dream,? portrays a hopeful attitude and is inspired by Dr. Martin Luther King Jr. and the ?I Have a Dream? speech. Encumbered Existence is 314 measure long. Prior to the score, an analysis of the piece provides an outline of the overall structure of the work as well as illustrations of the musical quotations used throughout the piece. The compositional decisions made during the creative process are explained by highlighting individual musical moments in the piece and then examining their correlation to the work. All inspirational material is also discussed.