Este trabalho tem por objetivo analisar os processos composicionais do Kyrie, segundo movimento do Réquiem (1963-65), de György Ligeti. Segundo seu compositor, essa peça é uma \"estranha fuga\" e, como tal, receberá durante nosso trabalho a terminologia correspondente a essa declaração. No primeiro capítulo, investigaremos a microestrutura da obra e perceberemos aí o caráter direcional das alturas do Sujeito 1, Kyrie eleison, (Cohn, 1998; Douthett & Steinbach, 1998; Lewin; 1982) e as simetrias que descrevem o Sujeito 2, Christe eleison (Weyl, 1997; McManus, 2005). No segundo capítulo, discutiremos o conceito de ilusão sonora (Caznok, 2008; Vitale, 2013; Menezes, 2004), sua recorrência na obra de Ligeti e na compreensão da superfície audível do Kyrie. No terceiro e último capítulo, retomaremos alguns aspectos da história do termo \"fuga\" (Mann, 1987) na busca de reflexos dessa história na escrita de Ligeti. Durante todo o nosso texto, lembraremos de outras obras artísticas que, em diálogo com o Kyrie, nos ajudarão a exemplificar, contrapor ou ratificar procedimentos composicionais da obra de Ligeti. Nossa investigação tende a situar a obra desse compositor na questão da Tradição e Ruptura, problematizada pela modernidade (Arendt, 2013; Compagnon, 2010), a partir de uma abordagem prática: a da análise musical. / This work aims to analyze the compositional process of Kyrie, the second movement of Réquiem (1963-95), by György Ligeti. According to Ligeti, this piece is a \"strange fugue\" and, as such, we will use a terminology corresponding to that statement. In the first chapter, we will investigate the microstructure of the piece and we will find the pitches\' directionality of the Subject 1, Kyrie eleison, (Cohn, 1998; Douthett & Steinbach, 1998; Lewin; 1982) and the symmetries that characterizes the Subject 2, Christe eleison (Weyl, 1997; McManus, 2005). In the second chapter, we will discuss the concept of sound illusion (Caznok, 2008; Vitale, 2013; Menezes, 2004), its recurrence in Ligeti\'s repertoire and its relevance to the understanding of the audible surface of Kyrie. In the third chapter, we will remember some aspects of the history of the word \"fugue\" (Mann, 1987), looking for reflections of this history in the Kyrie. During our argumentation, we will bring out another works of art, which will be related to the Kyrie, helping us to illustrate, oppose or endorse the compositional procedures of Ligeti\'s work. Our research tends to situate the Kyrie in the context of Tradition and Rupture, considered by modernity (Arendt, 2013; Compagnon 2012), from a practical approach, the analytical research

A presente dissertação expõe um estudo analítico da Sequenza I, para flauta solo, escrita pelo compositor italiano Luciano Berio (1925-2003), com foco nas duas edições da obra. A primeira, de 1958, faz uso de notação proporcional e foi publicada pela Editora Suvini Zerboni. Já em 1992, surge uma edição revisada pelo compositor, fazendo uso de notação rítmica tradicional, e que foi publicada pela Universal Edition. Dentre as diversas motivações para a realização deste trabalho, podemos citar a peculiaridade da reescritura da obra pelo próprio compositor, 34 anos mais tarde, focando suas alterações substancialmente na notação rítmica; um levantamento de questões referentes às práticas interpretativas com foco na obra para flauta transversal; e a representatividade da Sequenza I como um cânone do repertório para flauta, cujo estudo é indispensável ao flautista do século XXI. Colocando-nos tanto no papel de intérprete quanto de analista, buscamos reflexões acerca das práticas interpretativas, visto que procuramos nos desenvolver no domínio de ambas as áreas. Na conclusão, observamos haver um relacionamento de colaboração mútua entre análise musical e performance que realmente esclarece aspectos estruturais, e uma influência da experiência de Berio junto à composição eletroacústica na escrita desta obra para instrumento acústico. / This thesis presents an analytical study of Sequenza I for solo flute, by the Italian composer Luciano Berio (1925-2003), focusing on two editions of the work. The first one, from 1958, uses proportional notation and was published by Suvini Zerboni Editions. The second one, published by Universal Edition in 1992, was reviewed by the composer and uses traditional rhythmic notation. Among various motivations for carrying out this work, I mention the peculiarity of a composer rewriting his own work 34 years later, centering his changes mainly in the rhythmic notation; a survey of issues regarding interpretative practices and focusing on works for flute; and the representativity of Sequenza I as a canon of the flute repertoire, which study is indispensable to the Twentieth Century flautist. Placing myself both in the role of performer and analyst, I look for reflections concerning performance practices, as I seek to develop myself in both fields. In conclusion, I found a relationship of mutual collaboration between musical analysis and performance, which really clarifies structural aspects; and an influence of Berio\'s experience within electroacoustic composition in writing this piece for an acoustic instrument

A presente dissertação expõe um estudo analítico da Sequenza I, para flauta solo, escrita pelo compositor italiano Luciano Berio (1925-2003), com foco nas duas edições da obra. A primeira, de 1958, faz uso de notação proporcional e foi publicada pela Editora Suvini Zerboni. Já em 1992, surge uma edição revisada pelo compositor, fazendo uso de notação rítmica tradicional, e que foi publicada pela Universal Edition. Dentre as diversas motivações para a realização deste trabalho, podemos citar a peculiaridade da reescritura da obra pelo próprio compositor, 34 anos mais tarde, focando suas alterações substancialmente na notação rítmica; um levantamento de questões referentes às práticas interpretativas com foco na obra para flauta transversal; e a representatividade da Sequenza I como um cânone do repertório para flauta, cujo estudo é indispensável ao flautista do século XXI. Colocando-nos tanto no papel de intérprete quanto de analista, buscamos reflexões acerca das práticas interpretativas, visto que procuramos nos desenvolver no domínio de ambas as áreas. Na conclusão, observamos haver um relacionamento de colaboração mútua entre análise musical e performance que realmente esclarece aspectos estruturais, e uma influência da experiência de Berio junto à composição eletroacústica na escrita desta obra para instrumento acústico. / This thesis presents an analytical study of Sequenza I for solo flute, by the Italian composer Luciano Berio (1925-2003), focusing on two editions of the work. The first one, from 1958, uses proportional notation and was published by Suvini Zerboni Editions. The second one, published by Universal Edition in 1992, was reviewed by the composer and uses traditional rhythmic notation. Among various motivations for carrying out this work, I mention the peculiarity of a composer rewriting his own work 34 years later, centering his changes mainly in the rhythmic notation; a survey of issues regarding interpretative practices and focusing on works for flute; and the representativity of Sequenza I as a canon of the flute repertoire, which study is indispensable to the Twentieth Century flautist. Placing myself both in the role of performer and analyst, I look for reflections concerning performance practices, as I seek to develop myself in both fields. In conclusion, I found a relationship of mutual collaboration between musical analysis and performance, which really clarifies structural aspects; and an influence of Berio\'s experience within electroacoustic composition in writing this piece for an acoustic instrument

Astor Piazzolla (1921-1992) captivated Argentine and international audiences with his innovative works in a nuevo tango style and his bandoneón performances. Piazzolla?s success culminated during the 1980s with his second Quinteto, which performed remarkable concerts in venues such as the Teatro Colón in Buenos Aires and the Central Park Bandshell in New York, in addition to the performances at the Montreal and Montreux Jazz Festivals. His music also grew popular with a plethora of internationally acclaimed classical and jazz artists as well as with Argentine musicians themselves. However, Piazzolla?s music poses a challenge today, because nuevo tango represents a synthesis of the composer?s musical and cultural backgrounds, conjoining the tango legacy of Buenos Aires, the jazz idioms that he absorbed in New York, and the international traditions of classical music. Many musicians, specifically those from the United States, perform and study nuevo tango without having sufficient prerequisite knowledge of these practices, causing the genre to lose its cultural substance. By considering the fusion of tango, jazz, and classical genres and incorporating a cross-cultural analysis, this thesis aims to illuminate the basis of Piazzolla?s performance practices. It seeks to identify the yeites (tango instrumental techniques) that define nuevo tango and to suggest ways that the modern performer can incorporate these stylistic features to produce culturally informed interpretations of Piazzolla?s works. This study focuses on the practices of Piazzolla?s second Quinteto, at the pinnacle of his career, and emphasizes a gestural analysis of the yeites to produce a well-grounded concept of nuevo tango sound. This study concludes that, even though Piazzolla?s compositions represented a fusion of genres, the performance practices (and specifically the gestures) of the second Quinteto are primarily associated with the tango traditions of previous eras. Such gestures embody Piazzolla?s music and thus allow contemporary performers to recreate the evocative and persuasive characteristics of nuevo tango practices today.

No description available.

Este trabalho tem por finalidade apontar determinados aspectos que nortearam algumas das principais especulações realizadas no campo da nova vocalidade na música escrita no despontar do século XX. A prática da voz inserida no mundo moderno se desenvolve com as bruscas mudanças que alteram os parâmetros da produção musical e da compreensão dos elementos de musicalidade que surgem nas primeiras décadas do século passado. Sucintamente, aborda o espectro de percepções estéticas e cognitivas que um ouvinte carrega em seu intelecto e o ambiente histórico de uma obra que são fundamentos para a contemplação, reflexão e que permitem entender a voz. Essa prática que se foi acrescendo paulatinamente de \"novos\" recursos tomados \"emprestados\" da prática da emissão vocal na fala e no canto cotidiano traz nova oralidade e vocalidade, fazendo surgir uma \"nova\" sonoridade que futuramente se intensificará em múltiplas tendências, principalmente a partir do final dos anos 50 e início dos 60 do século XX. O seu florescimento estende-se até os dias atuais teve como ponto de partida muitas das reflexões e pesquisas que a Segunda Escola de Viena trouxe para a música. Para embasar este estudo foi levantado um conjunto de obras vocais de Arnold Schoenberg, Anton Webern, Alban Berg e Edward Steuermann, que tem como ferramenta de análise a Teoria dos Conjuntos de Joseph Straus. / This paper aims at pointing out specific aspects that guided some of the main theories made in the field of new vocality in writing music that happened in the beginning of the 20th century. At that period the practice of speech inserted in the modern world was also developed by the sudden changes that altered the parameters of music production and the understanding of the elements of musicality. Shortly, this paper also discusses the spectrum of aesthetic and cognitive perceptions that a listener carries in his/her intellect and the historic setting which are grounds for contemplation and reflection for they allow the listener to understand the voice, and even extend the appreciation and understanding of the sound. Such practice gradually added to itself new features taken from vocal speech and everyday singing bringing new orality and voicing. This activity generated a \"new\" sound that would appear in multiple trends, mainly in the late 50s and early 60s of the 20th century. It is there up to the present days and it had as a starting point reflections and researches that the Second Viennese School brought to the music. To support this study a number of vocal works of Arnold Schoenberg, Anton Webern, Alban Berg and Edward Steuermann, were taken into consideration, which use Joseph Straus\' Theory of Groups as tool for analysis

Este trabalho tem por finalidade apontar determinados aspectos que nortearam algumas das principais especulações realizadas no campo da nova vocalidade na música escrita no despontar do século XX. A prática da voz inserida no mundo moderno se desenvolve com as bruscas mudanças que alteram os parâmetros da produção musical e da compreensão dos elementos de musicalidade que surgem nas primeiras décadas do século passado. Sucintamente, aborda o espectro de percepções estéticas e cognitivas que um ouvinte carrega em seu intelecto e o ambiente histórico de uma obra que são fundamentos para a contemplação, reflexão e que permitem entender a voz. Essa prática que se foi acrescendo paulatinamente de \"novos\" recursos tomados \"emprestados\" da prática da emissão vocal na fala e no canto cotidiano traz nova oralidade e vocalidade, fazendo surgir uma \"nova\" sonoridade que futuramente se intensificará em múltiplas tendências, principalmente a partir do final dos anos 50 e início dos 60 do século XX. O seu florescimento estende-se até os dias atuais teve como ponto de partida muitas das reflexões e pesquisas que a Segunda Escola de Viena trouxe para a música. Para embasar este estudo foi levantado um conjunto de obras vocais de Arnold Schoenberg, Anton Webern, Alban Berg e Edward Steuermann, que tem como ferramenta de análise a Teoria dos Conjuntos de Joseph Straus. / This paper aims at pointing out specific aspects that guided some of the main theories made in the field of new vocality in writing music that happened in the beginning of the 20th century. At that period the practice of speech inserted in the modern world was also developed by the sudden changes that altered the parameters of music production and the understanding of the elements of musicality. Shortly, this paper also discusses the spectrum of aesthetic and cognitive perceptions that a listener carries in his/her intellect and the historic setting which are grounds for contemplation and reflection for they allow the listener to understand the voice, and even extend the appreciation and understanding of the sound. Such practice gradually added to itself new features taken from vocal speech and everyday singing bringing new orality and voicing. This activity generated a \"new\" sound that would appear in multiple trends, mainly in the late 50s and early 60s of the 20th century. It is there up to the present days and it had as a starting point reflections and researches that the Second Viennese School brought to the music. To support this study a number of vocal works of Arnold Schoenberg, Anton Webern, Alban Berg and Edward Steuermann, were taken into consideration, which use Joseph Straus\' Theory of Groups as tool for analysis

La présente thèse s’appuie sur les correspondances adressées par le compositeur Henri Tomasi, entre 1916 et 1940, à Joséphine et Xavier Tomasi, ses parents, puis de 1954 à 1971, à Jean Molinetti, son ami le plus proche. Il s’agit d’un ensemble de 533 lettres inédites, qui ont été transcrites, classées, et annotées. Cet unique témoignage écrit du musicien nous permet de comprendre les répercussions qu’eurent sur son œuvre créatrice les événements qui ponctuèrent sa vie et dont ses courriers se font l’écho. Nous étudions ainsi tour à tour l’environnement familial d’Henri Tomasi, au travers notamment du rôle fondamental que joua son père tant dans son éducation que dans le cadre de ses recherches sur la musique traditionnelle corse ; nous voyons la façon dont le jeune musicien conduisit ses études musicales, les rapports qu’il entretint avec les institutions de son temps, mais aussi le rôle que purent jouer les différentes activités de chef d’orchestre qu’il exerça à certaines périodes de son existence. Nous assistons également à l’évolution progressive de sa pensée et à sa transposition dans son œuvre musicale. Tout au long de ces années, cette correspondance au cours de laquelle le musicien passe successivement d’une écriture contrainte à une écriture choisie, nous livre des informations capitales et nous séduit par la vivacité de son ton et le mordant de son style. / The present thesis is based on all the written correspondence from the composer Henri Tomasi to Joséphine and Xavier Tomasi, his parents, between 1916 and 1940.Then, from 1954 to 1971 to Jean Molinetti, his closest friend. This correspondence includes 533 unpublished letters which have been transcribed, classified and annotated. This musician's unique written testimony allows us to understand how the events which punctuated his life, echoed in his letters, had repercussions on his creative work. Thus in turn, we will study Henri Tomasi's family environment considering notably the fundamental role played by his father in his education as well as in the field of his research on traditional Corsican music ; we'll see the way the young musician conducted his musical studies, his relationship with the institutions of his time but also the role his various activities as a conductor were to play at certain periods of his life. We will also follow the progressive evolution of his thought and its transposition in his musical work. In this correspondence, throughout all those years, the musician's constrained writing style gradually evolved into a more personal one. It gives us essential information and Tomasi seduces us by the incisiveness of his style and by the liveliness of his tone.

No description available.