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Previous issue date: 2015-02-27 / Esta disserta??o aborda o uso de t?cnicas estendidas para saxofone na obra
Minus, para saxofone soprano em Bb solo, composta por meio de colabora??o
compositor-int?rprete, entre Agamenon de Morais e o saxofonista Kleber Dessoles. O
texto est? organizado da seguinte maneira: a primeira parte traz um apanhado hist?rico
do repert?rio de m?sica de concerto para saxofone, desde o in?cio do s?culo XX,
passando pelo uso de t?cnicas estendidas para o instrumento e pelos principais
personagens e fatos hist?ricos desse per?odo de tempo, dados esses obtidos a partir de
pesquisa bibliogr?fica e documental; a segunda parte trata da colabora??o compositorint?rprete,
desde os casos documentados nos s?culos XVIII e XIX at? chegarmos aos
dias de hoje, explorando de que maneiras as colabora??es podem acontecer e as suas
motiva??es, por meio de pesquisa bibliogr?fica; a terceira e ?ltima parte versa sobre a
obra em si, seguida de um relato pormenorizado da colabora??o entre o compositor e o
int?rprete, bem como explica??es minuciosas das t?cnicas estendidas que constam na
obra (multif?nicos e flatterzunge), por meio de pesquisa bibliogr?fica, documental e
relatos dos encontros entre compositor e int?rprete. Ao final do processo de
colabora??o, pode-se dizer que o resultado final da obra foi derivado da soma dos
conhecimentos do compositor e do int?rprete, combinados, quase como se a composi??o
tivesse uma dupla autoria. O documento resultante do relato do processo pode auxiliar
compositores e int?rpretes a comporem para saxofone, bem como a nortear futuras
experi?ncias de colabora??o. / This dissertation deals with the use of extended techniques for the saxophone
in the piece Minus (for solo saxophone in Bb), composed through a composer-performer
collaboration between Agamenon de Morais and the saxophonist Kleber Dessoles. The
text is organized in the following manner: the first part brings the historical background
of the concert music written for the saxophone since the beginning of the 20th-century,
exploring the use of extended tehcniques and the main characters and historical facts of
this period, with data obtained through a literature review; the second part deals with the
issue of the composer-performer collaboration, since cases documented in the 18th and
19th centuries until nowadays, exploring in which different ways collaborations may
happen and the motivations behind them; the third and final part is about the specific
work, followed by a detailed description of the collaboration between the composer and
the interpreter, as well as detailed explanations about the extended techniques present in
the work (multiphonics and flatterzunge), through bibliographic and documental
research, as well as descriptions of the meetings between composer and interpreter. At
the end of the collaborative process, one may say that the final result was created from a
sum of the composer's knowledge with the interpreter's, almost as if the composition
had double authorship. The document describing this process may help composers and
interpreters in composing for the saxophone, as well as guide future collaborative
experiences.
| Identifer | oai:union.ndltd.org:IBICT/oai:repositorio.ufrn.br:123456789/20085 |
| Date | 27 February 2015 |
| Creators | Marques, Kleber Dessoles |
| Contributors | 69579750106, http://lattes.cnpq.br/6872751996178006, Presgrave, F?bio Soren, 07453136717, http://lattes.cnpq.br/0527049289531555, Victorio, Roberto Pinto, 70341664715, http://lattes.cnpq.br/7996480830802741, Cesetti, Durval da N?brega |
| Publisher | Universidade Federal do Rio Grande do Norte, PROGRAMA DE P?S-GRADUA??O EM M?SICA, UFRN, Brasil |
| Source Sets | IBICT Brazilian ETDs |
| Language | Portuguese |
| Detected Language | English |
| Type | info:eu-repo/semantics/publishedVersion, info:eu-repo/semantics/masterThesis |
| Source | reponame:Repositório Institucional da UFRN, instname:Universidade Federal do Rio Grande do Norte, instacron:UFRN |
| Rights | info:eu-repo/semantics/openAccess |
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