Made available in DSpace on 2014-06-11T19:27:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-08-21Bitstream added on 2014-06-13T19:56:13Z : No. of bitstreams: 1 lefevre_d_me_ia.pdf: 4754562 bytes, checksum: ccd55e4c322856f80dcd0107322a1a2f (MD5) / Esta dissertação aborda a canção tendo como principal foco de interesse a composição musical. Esta trabalho engloba o estudo analítico dos Três Cantos de Hilda Hilst (2002) de Almeida Prado e de canções compostas por Achille Picchi, Eduardo Guimarães Álvares e José Augusto Mannis para o álbum Poesia Paulista (1998). Neste estudo, o objetivo principal é investigar estratégias de composição musical empregadas em obras que têm um texto poético como ponto de partida. Esta pesquisa envolveu também a composição da canção A Casa do Tempo Perdido (2008), de Diogo Lefèvre, onde se aplicam alguns procedimentos observados na análise das outras peças aqui estudadas. Realizou-se também um estudo comparativo entre A Casa do Tempo Perdido e as outras obras enfocadas por esta pesquisa. Detectaram-se estratégias musicais que abrangem diversas facetas das canções abordadas, como utilizações específicas dos recursos vocais e intrumentais, e também a estruturação formal das obras estudadas. Percebeu-se que muitas destas estratégias, mas não todas, se relacionam instensamente com os textos musicados. / This work approaches the song having the musical composition as main center of interest. This dissertation includes the analytical study of the Três Cantos de Hilda Hilst by Almeida Prado and songs composed by Achille Picchi, Eduardo Guimarães Álvares and José Augusto Mannis for the álbum Poesia Paulista. The research's main objective is to investigate strategies of musical composition in works that have a poetical text as a starting point. The song A Casa do Tempo Perdido was composed in the course of this study by Diogo Lefèvre, research's author. In this piece some procedures observed in the analysis of the other songs approached by the dissertation were applied, and a comparative study between this last song and the others was made. Musical strategies thar include several facets of the approached songs were disclosed, such as specific uses of the instrumental and vocal resources, and the formal stucture of the pieces. Many of the disclosed strategies, but not all, have a close relationship with the text of these songs.

Orientador: Marcos Fernandes Pupo Nogueira / Banca: Paulo de Tarso Salles / Banca: Dorotéa Machado Kerr / Resumo: Esta dissertação aborda a canção tendo como principal foco de interesse a composição musical. Esta trabalho engloba o estudo analítico dos Três Cantos de Hilda Hilst (2002) de Almeida Prado e de canções compostas por Achille Picchi, Eduardo Guimarães Álvares e José Augusto Mannis para o álbum Poesia Paulista (1998). Neste estudo, o objetivo principal é investigar estratégias de composição musical empregadas em obras que têm um texto poético como ponto de partida. Esta pesquisa envolveu também a composição da canção A Casa do Tempo Perdido (2008), de Diogo Lefèvre, onde se aplicam alguns procedimentos observados na análise das outras peças aqui estudadas. Realizou-se também um estudo comparativo entre A Casa do Tempo Perdido e as outras obras enfocadas por esta pesquisa. Detectaram-se estratégias musicais que abrangem diversas facetas das canções abordadas, como utilizações específicas dos recursos vocais e intrumentais, e também a estruturação formal das obras estudadas. Percebeu-se que muitas destas estratégias, mas não todas, se relacionam instensamente com os textos musicados. / Abstract: This work approaches the song having the musical composition as main center of interest. This dissertation includes the analytical study of the Três Cantos de Hilda Hilst by Almeida Prado and songs composed by Achille Picchi, Eduardo Guimarães Álvares and José Augusto Mannis for the álbum Poesia Paulista. The research's main objective is to investigate strategies of musical composition in works that have a poetical text as a starting point. The song A Casa do Tempo Perdido was composed in the course of this study by Diogo Lefèvre, research's author. In this piece some procedures observed in the analysis of the other songs approached by the dissertation were applied, and a comparative study between this last song and the others was made. Musical strategies thar include several facets of the approached songs were disclosed, such as specific uses of the instrumental and vocal resources, and the formal stucture of the pieces. Many of the disclosed strategies, but not all, have a close relationship with the text of these songs. / Mestre

Spanish composer María Teresa Prieto (1895-1982) belongs to a group of Spanish exiles who left their country for Mexico as a result of the Spanish Civil War. She arrived in Mexico in 1936 and developed her compositional career in there. Her first composition after her arrival in the new country was the song cycle Seis Melodías, a work that includes six songs with poetry by Ricardo de Alcázar, Juan Ramón Jiménez, Federico García Lorca, and María Teresa Prieto herself. This document analyzes each one of the songs, both musically and poetically, as well as the relationship between music and text. Seis Melodías' structural organization as a cycle is very particular, since Prieto organized the cycle in pairs—namely I and II, III and IV, and V and VI—each group with strong poetic and thematic unity. The songs belonging to this cycle, present the duality of being independent and dependent at the same time, given that each song stands by itself, but together they create a meta-narrative that progresses from hope to desolation, not as a political statement, but as a homage to, as well as a lament, for the Spanish land and freedom. The cyclical nature of this work is accomplished by Prieto through motivic unity, a clear harmonic plan, and poetic relationships between the songs.