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Orientador: Eduardo Augusto Ostergren / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-10T17:29:18Z (GMT). No. of bitstreams: 1 Real_Jonicler_M.pdf: 1778842 bytes, checksum: 2ad9b098a120db023229429c57456b35 (MD5) Previous issue date: 2003 / Resumo: Este estudo nos leva a uma Reflexão sobre Repertório para Orquestra Jovem enfatizando no futuro a execução de obras completas. No início uma orquestra jovem toca arranjos ou trechos facilitados do repertório sinfônico, solidificando e desenvolvendo repertório e técnica buscando ao mesmo tempo crescimento de sua maturidade artística. A partir de um certo nível de conhecimentos teórico obtidos e do desenvolvimento técnico adquirido, a busca de novos desafios estimula a necessidade de se abordar um novo repertório com obras executadas na sua íntegra. O repertório sinfônico disponível para grupos jovens é pequeno e a literatura apresentada se restringe, muitas vezes, às experiências pessoais de cada dirigente e as limitações do seu grupo. Os diferentes períodos musicais abordados se remetem ao ensejo de capacitação do estudante, fornecendo um acréscimo substancial em seus conhecimentos técnicos e teóricos. Tomando como base o trabalho desenvolvido junto a Orquestra Filarmônica Jovem da ASSEC na cidade de Sorocaba, procuramos mostrar o caminho trilhado desde o seu início, executando arranjos, "Andantes" e "Minuetos" de diferentes sinfonias. Percebendo o momento de transição, tenta-se definir o novo objetivo a que se quer chegar. Propomos algumas opções quanto ao repertório, com suas classificações, esperando ter contribuído de maneira modesta para o catálogo de música para orquestras jovens e para ajudar os regentes nas suas considerações na busca de um repertório alternativo / Abstract: This study is a reflection on the various aspects of the music repertoire for Youth Orchestras in their preparation for future performances of orchestral masterpieces. In its early stages a young orchestra generally plays a repertoire consisting of mostly easy pieces or arranged excerpts of the standard symphonic literature in order to develop technique, build repertoire and achieve musical growth. Once a certain level of competence is reached new challenges stimulate the desire to perform more complex works either in their original form or in their complete version. The music literature available for young groups is usually small and the works performed tend to reflect personal tastes or particular experiences of the conductor and the limitations of his group. The various musical examples discussed here present a kind of challenge that allows for artistic growth in both the theoretical and practical aspects of orchestral playing through the performance of music of the different style periods. Inspired by our work with the Youth Philharmonic Orchestra of Sorocaba (sponsored by ASSEC - Associação de Eventos Culturais) we have tried to show the orchestra's development from its beginnings, when it used to play mostly arrangements of slow movements or ¿minuets" from standard symphonies to a more mature level of performance. We have also proposed a few repertoire alternatives, graded by levels of difficulty, hoping to have made a modest contribution to the catalogue of youth symphony orchestra and as a way to help conductors in their considerations while approaching alternative repertoire / Mestrado / Mestre em Artes

Temporal Distortions is 18-20 minutes in length and is written for an orchestra including 2 flutes (2nd flute doubling on piccolo), 2 oboes, 2 Bb clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, 3 percussionists playing tri-toms, vibraphone, snare/tenor drum, medium suspended cymbal, Glockenspiel, bass drum, and large tam-tam; and multiple string parts for violin I a & b, violin II a & b, viola a & b, cello and double bass. Temporal Distortions was inspired by the theoretical concept of "wormholes" in space, where matter is warped through distorted passages connecting distant and diverse parts of the universe. The work is in three sections, connected without break. The first section, Space, emerges as a wide, expansive musical area where themes and gestures are freely presented. Gradually, these materials come into phase with one another, building to a climax. A transition follows, leading into the middle section, Wormholes, where the materials are frequently and suddenly transformed into other temporal elements. The third section, Comets, was inspired by the collision of the comet Shoemaker-Levy 9 with the planet Jupiter in July of 1993. Driving, underlying rhythms propel the thematic material through a series of statements which split into more and more substatements. This leads into a turbulent, explosive section and a final wormhole which returns to the opening material. Five basic temporal elements -- sustaining, aligned/non-repeating, aligned/repeating, non-aligned/repeating, and non-aligned/non-repeating -- are derived and demonstrated. Relationships between these elements are examined, and basic transformations are discussed. These elements serve as the basis for a theory of temporal analysis applicable to both metered and non-metered music. Chapter I presents this theory, and Chapter II discusses its application as a compositional method in Temporal Distortions.

The Wanderer is an orchestra piece 18'42" in duration. The purpose of this project is to provide the composer an opportunity to express through music his experience with God, rebellion, and returning as the wanderering son did in the Bible's parable.

Breaking Through is a single-movement composition for symphony orchestra based on a fourteen-note melody. Every harmonic and melodic figure except the bass line is derived from this source melody. The structure of the work is based on a number of musical dichotomies that work on both local and large-scale levels. The local dichotomies contrast consonance with dissonance and ambiguity with clarity (in respect to texture and rhythm). The dichotomy of two-part form versus three-part form and the dichotomy of simplicity versus complexity operate on the large scale. The unity lended by the single source melody coupled with the contrasts furnished by the aforementioned dichotomies allow Breaking Through to be both coherent and interesting.

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Extension is a three-sectional, one-movement composition for orchestra exploring various permutations of a single motivic unit. The central priority has been to present this motive in a variety of textural situations with a harmonic accompaniment evolving from a macrotonal to a microtonal setting. Some of the devices utilized to realize this priority are mixed-instrument timbral combinations, tone clusters, multiphonics for brass and woodwinds, multiple stops for strings, and superimpositions of multiphonics. Extension is unique in two areas. First, the evolutionary progression from a macrotonal to microtonal harmonic texture is made possible by expanding the priorities of instrumental performing. Second, the use of multiphonics for full orchestra is unique to this work.

A body of works titled 'capriccio' have existed for over four hundred years. Most of these works are characterized by a composers abandonment of expected stylistic norms. Guided only by the fanciful whim of the composer, a capriccio exhibits extreme contrasts in the various parameters of a musical composition including melody, harmony, counterpoint, mood and texture. The composition embedded in these compositional parameters as its point of departure and development.

The composer has earnestly sought to capture in this work, Allegra for Orchestra in C minor, the clarity and simplicity that is commonly associated with works of the Classic Period of musical composition. He has tried to accomplish this by making use of musical composition. He has tried to accomplish this by making use of present day approaches toward musical composition, yet trying to delete the cleverness, the bizarre effects, and the trite pomposity that one finds so prevalent in much of the music that has been written since the beginning of the twentieth century. This effort toward simplicity extends to form, harmonic content, texture, and instrumentation.