Made available in DSpace on 2015-05-14T12:52:24Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 7346981 bytes, checksum: 18e46c38ae7d5b14fb1aafc3aca716d7 (MD5) Previous issue date: 2012-03-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This study aimed to describe how extended techniques are related to sound settings and the concept of "sound figures" described by Salvatore Sciarrino, used in his pieces for solo flute, published in the book L'Opera per Flauto. Such techniques and figures are fundamental to an understanding of his works. In our analytical reading, we started from the methodological considerations of the composer, described in the book Le Figure della Musica da Beethoven a oggi, which proposes a methodology of analysis based on the concept of "sound figures" - a criteria imported from the visual arts. These sound figures are also present in his compositional works, in a way that they interact with the musical discourse organization. It was sought an understanding of how visual criteria established in its methodology also encompassed the formal considerations of his works for solo flute. So, two different methodologies were used: the qualitative one, based on the theoretical assumptions of the composer; and the quantitative one, based on the spectral analysis of the audio recordings of the pieces. Our goal was to investigate and describe the trajectory of the partial over the time, in order to investigate and demonstrate concepts created by the composer through the proposed analysis. / A presente pesquisa teve como objetivo descrever como as técnicas expandidas estão relacionadas com as configurações sonoras e as figuras descritas por Salvatore Sciarrino e utilizadas em suas peças para flauta solo, publicadas no caderno L Opera per Flauto. Tais técnicas e figuras são fundamentais para a compreensão de suas obras. Em nossa leitura analítica, partimos das considerações metodológicas do compositor, descritas no livro Le Figure della Musica da Beethoven a oggi, no qual propõe uma metodologia de análise baseada no conceito de figuras sonoras - um critério importado das artes visuais. Essas figuras sonoras estão presentes também no plano composicional de suas obras, de maneira que interagem na organização do discurso musical. Assim, buscamos compreender como critérios visuais estabelecidos em sua metodologia englobaram também as considerações formais de suas obras para flauta solo. Para tanto utilizamos duas metodologias distintas: a qualitativa, que parte dos pressupostos teóricos do compositor; e a quantitativa que parte da análise espectral das gravações em áudio das peças. O objetivo é investigar e descrever o comportamento geral dos parciais no decorrer do tempo, com intuito de averiguar e evidenciar, através das análises propostas os conceitos formulados pelo compositor.

Notre travail de recherche a pour objectif d’éclairer le parcours logique dissimulé derrière les compositions pour le théâtre de Salvatore Sciarrino, afin de réduire la distance entre l’artiste e le destinataire de ses œuvres. Nous avons réfléchi dans un premier temps aux conditions culturelles qui ont joué un rôle important et décisif dans la création du compositeur pour ensuite nous pencher sur l’observation, l’analyse et la compréhension de son premier essai d’esthétique : Le figure della musica da Beethoven a oggi. L’analyse des formes musicales individuées et formalisées par Sciarrino s’est révélée conséquente pour :a. mettre en évidence la forma mentis du compositeur et les innombrables aspects de sa personnalité ;b. déceler l’ensemble de normes et de lois qui sont à la base de son langage organique.Sans nous engager dans le domaine sémantique de la musique, nous avons néanmoins réfléchi avec Sciarrino sur le langage musical et sur la question de sa communication. La recherche du compositeur se présente en fait comme un cas particulier de création d’un langage conçu pour le domaine artistique en général et non pas exclusivement pour le domaine musical.Afin de retracer les aspects les plus singuliers de son travail artistique, nous avons mis l’accent sur l’un des concepts fondamentaux de son enseignement : la musique découle entièrement de la réalité sonore qui nous entoure et qui en constitue l’essence. L’événement sonore, conçu en tant qu’organisme vivant, renvoie à l’idée de Sciarrino d’une écoute écologique, qui traduit la faculté de transformation des sons naturels dans le langage musical, à travers une écoute en perspective.Le découpage dramatique et dramaturgique mis en œuvre par le compositeur propose à l’auditeur et à l’interprète de sa musique un véritable travail de perception, à la fois du texte et de la musique, et les plonge dans un monde caractérisé par l’incertitude et l’imperceptibilité. D’où l’originalité de sa recherche musicale et de ses projets dramaturgiques, qui n’ont pas pour objectif de faire coïncider la réalité visuelle avec la réalité sonore, mais de l’évoquer à travers des sons imperceptibles, à la limite du silence. / The goal of this research is to shed light on the logical trail that is hidden behind Sciarrino’s compositions for theater; it will help us reduce the distance between the artist and the recipient of his works. At first, we will ponder the cultural circumstances, which played an important and decisive part in the composer’s artistic creations. Then, we will devote time to observe, analyze and understand his first writing on aesthetics : Les figure della musica da Beethoven a oggi.The analysis of the unique musical forms created by Sciarrino will prove useful as we :a. reveal the forma mentis of the composer and the innumerable aspects of his personality ;b. trace his organic language back to the system of norms and laws from which it originates.Without involving ourselves in the category of musical semantics, we will nonetheless consider musical language and its levels of communication. In fact, Sciarrino’s research appears as the special instance of a language that is being created for the artistic world in general and not exclusively for the musical world.In order to recount the most singular aspects of his artistic work, we will focus on one of the fundamental concepts of his teachings : that music derives entirely from the sonic reality, which surrounds us and which therefore constitutes its essence.The sonic event, conceived as a living organism, refers to the idea of ecological listening. It is the faculty of transforming natural sounds within a musical language, by listening in perspective.The dramatic and dramaturgic division put in place by Sciarrino offers the listener and the performer of his music a study on perception, of both text and music, and immerges them in a world characterized by uncertainty and imperceptibility. Hence the originality of his musical research and dramaturgic project, which goal is not to make the visual reality coincide with the sonic reality, but to evoke the former with imperceptible sounds, ones that border on silence.

This paper presents a discussion of functional silence in contemporary classical music with a particular focus on the music of Salvatore Sciarrino and Jürg Frey, two composers whose drastically-contrasting bodies of work both occupy the interstitial space between the audible and inaudible. To begin, I address three main questions: what are the functions of silence in a musical context, how do the characteristics of a work affect our perception of these silences, and how do these functions relate to our perception of music on the edge of silence. In answering these first two questions, I discuss three categories of silence---temporal, spatial, and gestural---which I use in a silence-centric analyses of Sciarrino's Let me die before I wake, Allegoria della notte, and Infinito Nero, as well as Frey's Streichquarttet III. To further apply these concepts to music on the edge of silence, I provide a fourth category---timbral silence---which describes the perception of absence or silence within the presence of sound and allows for the application of existing functional principles of silence to sounding events. In turn, this allows us to understand the music of Sciarrino and Frey in terms of timbral completion and timbral dissolution, respectively. Having established a theoretical framework for understanding the function of silence, the second half of this paper discusses the composition of A Moment on the In-between, my 2018 work for string quartet, with a focus on the intentional application of these principles of functional silence within the piece.

Le langage de Salvatore Sciarrino et celui de Brian Ferneyhough sembleraient aux antipodes : l’un doté d’une ligne épurée de tout excès, l’autre avec une notation surchargée de détails. La structure temporelle de leurs langages pourraient toutefois trouver un point de contact dans deux pièces pour flûte seule : L’orologio di Bergson de Sciarrino et Carceri d’Invenzione IIb de Ferneyhough. La pièce de Sciarrino est structurée sur la périodicité de certains éléments qui, par leur récurrence, créent une sensation de temps circulaire. Celle de Ferneyhough, bien que plus complexe à la surface, emploie la même idée de récurrence du matériau. La simplicité des éléments sonores de Sciarrino laisse la place à des unités de matériau incandescentes. Cette thèse a comme but de montrer une certaine similarité quant à la gestion du temps, et quant à son déroulement. L’analyse de plusieurs interprétations montrera aussi comment les interprètes s’approprient cette conception temporelle. / At first impression, the language of Salvatore Sciarrino and that of Brian Ferneyhough seem to be antipodes, two extremes exactly opposite to each other: one simple, pure, deprived of any unnecessary excess, while the other rich, complex, decorated with all the possible details. However, in these two pieces for flute solo, there is a common ground that can be found: L’orologio di Bergson of Salvatore Sciarrino and Carceri d’Invenzione IIb of Brian Ferneyhough. The piece of Sciarrino is structured on the periodicity of certain elements, by their recurrence, which create a sensation of circular time. While the piece of Ferneyhough, although, seemingly much more complex, employs the same idea of recurrence of the material. The simplicity of the sonic elements of Sciarrino gives the space to the unity of the incandescent materials. The objective of this thesis is to demonstrate some certain similarity, concerning the time management and its development. The analysis of several interpretation also shows how the interpreters adapt themselves to this time conception.

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