Quintet in G minor / Franz Danzi -- Variations sur un theme corse / Henri Tomasi -- Quintet / Steinmetz. / text

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Contours can be understood as the shape or format of an object. In Music contour can represent a parameter in function of another, like pitch in function of density or density in function of amplitude. Contours are important because, as well as pitch sets and motives, they can help giving coherence to a musical piece.Theories of contours have been used in areas such as Ear Training and Analysis, but the systematic use of contours for generation of compositional material is an issue still lacking literature.In this thesis I present the piece "Em torno da romã" [Around the pomegranate] and its analysis. This piece, for woodwind quintet, was composed using combinations of contour operations associated with parameters such as pitch, tempo, density and texture. In order to accomplish this task, I did a literature review of contour theories, I did a mapping of contours to musical elements, I composed studies of possibilities for experimentation with contours, I develop the Goiaba, a software to assist in processing contours for composition, and finally composed the piece "Em torno da romã".This study helps to advance the state of art of contour theories through composition contour operations experiments using contour operations and contributes with new tools to the composition field.My conclusion is that contours can be used in a systematic way in musical composition, but we still need further study. Thus this depth and continuity in development of Goiaba are possible future activities resulting from this work.

O presente trabalho tem como principal objetivo realizar um estudo analítico e interpretativo da Suíte para quinteto de sopros de Radamés Gnattali. Para introduzir e contextualizar esse estudo, apresenta, na Primeira Parte, um levantamento biográfico e histórico da vida do compositor. A Segunda Parte focaliza a obra. Introduz aspectos da forma Suíte, bem como das formas características dos movimentos: Prelúdio, Valsa, Modinha e Choro, além de enumerar considerações sobre a formação Quinteto de Sopros. Segue com o estudo analítico da obra através das técnicas de análise musical desenvolvidas por Arnold Schoenberg, Wallace Berry e Joaquín Zamacois. Desse estudo são levantadas informações a respeito da linguagem empregada, quais os elementos composicionais característicos utilizados pelo compositor e como ele os manipula. Também de acordo com esse estudo analítico, estão indicadas sugestões sobre a execução da obra, apontando aspectos relevantes da interpretação nos cinco instrumentos envolvidos. A conclusão reúne as informações de maior interesse obtidas da análise efetuada, e de orientações a respeito da execução da obra. Em anexo se encontram: relação de obras e fonografia de Radamés Gnattali, a partitura e um CD com a gravação da Suíte executada pelo Quinteto de Sopros de Curitiba, grupo do qual o autor dessa pesquisa faz parte. / The main objective of the present research is to present an Analysis and an interpretative Study of the Suíte for Woodwind Quintet by Radamés Gnattali. For the sake of contextualization, the First Part presents biographical and historical data of the composer\'s life. The Second Part focuses on the piece. It starts with aspects of the Suit and introduces the forms involved in each movement: Prelúdio, Valsa, Modinha and Choro. It follows with the Analysis of the piece according to the techniques of musical analysis developed by Arnold Schoenberg Wallace Berry e Joaquín Zamacois. The analytical process leads up to information about the used compositional language, the typical compositional elements, and how the composer uses them. Furthermore, according to this analytical study, there are suggestions concerning the performance of the piece, pointing to relevant aspects of woodwind quintet interpretation. The conclusion gathers the most prominent information acquired from the overall Analysis of the work, and from the suggestions on the performance of this piece as well. As appendixes, there are a list of works by Radamés Gnattali and his phonography, the music score, and a recording on CD of the piece, performed by Wind Quintet Curitiba, group founded by the author of this research.

O presente trabalho tem como principal objetivo realizar um estudo analítico e interpretativo da Suíte para quinteto de sopros de Radamés Gnattali. Para introduzir e contextualizar esse estudo, apresenta, na Primeira Parte, um levantamento biográfico e histórico da vida do compositor. A Segunda Parte focaliza a obra. Introduz aspectos da forma Suíte, bem como das formas características dos movimentos: Prelúdio, Valsa, Modinha e Choro, além de enumerar considerações sobre a formação Quinteto de Sopros. Segue com o estudo analítico da obra através das técnicas de análise musical desenvolvidas por Arnold Schoenberg, Wallace Berry e Joaquín Zamacois. Desse estudo são levantadas informações a respeito da linguagem empregada, quais os elementos composicionais característicos utilizados pelo compositor e como ele os manipula. Também de acordo com esse estudo analítico, estão indicadas sugestões sobre a execução da obra, apontando aspectos relevantes da interpretação nos cinco instrumentos envolvidos. A conclusão reúne as informações de maior interesse obtidas da análise efetuada, e de orientações a respeito da execução da obra. Em anexo se encontram: relação de obras e fonografia de Radamés Gnattali, a partitura e um CD com a gravação da Suíte executada pelo Quinteto de Sopros de Curitiba, grupo do qual o autor dessa pesquisa faz parte. / The main objective of the present research is to present an Analysis and an interpretative Study of the Suíte for Woodwind Quintet by Radamés Gnattali. For the sake of contextualization, the First Part presents biographical and historical data of the composer\'s life. The Second Part focuses on the piece. It starts with aspects of the Suit and introduces the forms involved in each movement: Prelúdio, Valsa, Modinha and Choro. It follows with the Analysis of the piece according to the techniques of musical analysis developed by Arnold Schoenberg Wallace Berry e Joaquín Zamacois. The analytical process leads up to information about the used compositional language, the typical compositional elements, and how the composer uses them. Furthermore, according to this analytical study, there are suggestions concerning the performance of the piece, pointing to relevant aspects of woodwind quintet interpretation. The conclusion gathers the most prominent information acquired from the overall Analysis of the work, and from the suggestions on the performance of this piece as well. As appendixes, there are a list of works by Radamés Gnattali and his phonography, the music score, and a recording on CD of the piece, performed by Wind Quintet Curitiba, group founded by the author of this research.

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Syncretisms is an original composition scored for flute, oboe, clarinet, horn, bassoon, and marimba (2-mallet minimum, 4 recommended) with an optional percussion part requiring glockenspiel and chimes, and has an approximate duration of 6 min. 45. sec. The composition combines modern western tuning, timbre, and harmonic language with organizational principles identified in music from Southeast Asia (including music from cultures found in Thailand, Cambodia, Malaysia, and Indonesia). The accompanying paper describes each of these organizational principles, drawing on the work of scholars who have performed fieldwork, and describes the way in which each principle was employed in Syncretisms. The conclusion speculates on a method for comparing musical organizational systems cross-culturally.