In this paper the compositional issues and techniques employed in my D.Mus. Thesis Composition Noite dos Tambores Silenciosos (for symphony orchestra) are discussed. The piece, constituted of three linked parts, exhibits a counterpoint of three distinct kinds of music as the main vehicle of the musical discourse. / Two of these musics are connected with Maracatu de Baque Virado and Maracatu Rural, popular musical manifestations found in Pernambuco, a state in northeast Brazil. In a "defragmentation" process, reference materials from the Maracatus are abstractly fragmented and reconstructed according to a technique I call Zin-Zout, implementing in the music a continuous state of transformation, back and forth between micro and macro dimensions. The third kind of music, free of folk references, follows a transformational process built up according to a "palimpsest" technique. In this transformation the hierarchy of the musical parameters changes along with the units of the musical content. / These procedures involve not only pitch and rhythm, but also other parameters like timbre, density and register in a structural way, as building elements of the content and form of the work. / The defragmentation process establishes some predetermined compositional paths, but permits micro- and macro-level decisions based on intuitive considerations, especially in the manipulation of orchestration and micro rhythms. More systematic, the organization of pitch involves a limited serialism and a variety of modal treatment.

No description available.

Qualquer experiência humana pode ser sacralizada, continuando na sua superfície profana. O caráter sagrado lhe vem da atribuição do mistério que oculta. Este mistério pode ser de beleza ou de feiúra, de bondade ou de maldade, de segurança ou de pecado, de anjo ou de demônio, no templo ou na rua. O sagrado opera uma transformação nas coisas do mundo tornando uma realidade inteiramente diferente das realidades naturais. O presente trabalho se propõe analisar numa perspectiva antropológica a hierofonia construída e reelaborada na Noite dos Tambores Silenciosos, numa tentativa de compreender o desenvolver deste processo. / Any human experience can become sacred and even go continuing going externally continue in its profane expression. This sacred character comes out to it human experience from the mystery touch that it the above mentioned human experience hides within itself. This mystery can enclose beauty or ugliness, goodness or wickedness, safety or sin, angles or devils, temples or street. The sacred one produces, accomplishes a certain transformation in the worldly things, turning them into a reality wholly different from an analyzing, departing from an anthropological perspective, the hidden hierophany, contacted and reworked out from Noite dos Tambores Silenciosos i. e: Night of the Silent Drums in great attempt of understanding and developing this process.

Made available in DSpace on 2017-06-01T18:12:22Z (GMT). No. of bitstreams: 1 dissertacao_luiz_justino.pdf: 4505153 bytes, checksum: 5c3882868aa930200db283626a7e1a58 (MD5) Previous issue date: 2009-11-04 / Any human experience can become sacred and even go continuing going externally continue in its profane expression. This sacred character comes out to it human experience from the mystery touch that it the above mentioned human experience hides within itself. This mystery can enclose beauty or ugliness, goodness or wickedness, safety or sin, angles or devils, temples or street. The sacred one produces, accomplishes a certain transformation in the worldly things, turning them into a reality wholly different from an analyzing, departing from an anthropological perspective, the hidden hierophany, contacted and reworked out from Noite dos Tambores Silenciosos i. e: Night of the Silent Drums in great attempt of understanding and developing this process. / Qualquer experiência humana pode ser sacralizada, continuando na sua superfície profana . O caráter sagrado lhe vem da atribuição do mistério que oculta. Este mistério pode ser de beleza ou de feiúra, de bondade ou de maldade, de segurança ou de pecado, de anjo ou de demônio, no templo ou na rua. O sagrado opera uma transformação nas coisas do mundo tornando uma realidade inteiramente diferente das realidades naturais. O presente trabalho se propõe analisar numa perspectiva antropológica a hierofonia construída e reelaborada na Noite dos Tambores Silenciosos, numa tentativa de compreender o desenvolver deste processo.