| Nome: | Descrição: | Tamanho: | Formato: | |
|---|---|---|---|---|
| 13.02 MB | Adobe PDF | |||
| 23.57 MB | Unknown | |||
| 6.11 MB | mp3 |
Orientador(es)
Resumo(s)
Este trabalho de investigação surge da vontade de integrar a guitarra portuguesa na música contemporânea. São três os alicerces que se propõem para essa integração: a técnica, que emerge do estudo aprofundado das origens do instrumento e do seu anacronismo estrutural; a tradição, procedente da linguagem do fado e da herança de Carlos Paredes, que são uma parte substancial do léxico nativo da guitarra; e a transfiguração, resultante do confronto com a linguagem do nosso tempo, entendida aqui como elemento contaminador. É deste cruzamento que surgem as obras para guitarra portuguesa escritas no âmbito deste Mestrado em Composição. Este é, portanto, o princípio de um processo composicional que tem como desígnio principal a criação de uma nova linguagem, onde o passado é um portal para o futuro.
This research project stems from the desire to integrate the Portuguese guitar into contemporary music. Three pillars underpin this integration: technique, which emerges from an in-depth study of the instrument's origins and its structural anachronism; tradition, rooted in the language of fado and the legacy of Carlos Paredes, both of which constitute a substantial part of the guitar's native lexicon; and transfiguration, resulting from the confrontation with the language of our time, viewed here as a contaminating element. It is from this intersection that the works for Portuguese guitar composed within the scope of this Master's Degree in Composition emerge. This is, therefore, the beginning of a compositional process whose primary aim is the creation of a new language, where the past becomes a gateway to the future.
This research project stems from the desire to integrate the Portuguese guitar into contemporary music. Three pillars underpin this integration: technique, which emerges from an in-depth study of the instrument's origins and its structural anachronism; tradition, rooted in the language of fado and the legacy of Carlos Paredes, both of which constitute a substantial part of the guitar's native lexicon; and transfiguration, resulting from the confrontation with the language of our time, viewed here as a contaminating element. It is from this intersection that the works for Portuguese guitar composed within the scope of this Master's Degree in Composition emerge. This is, therefore, the beginning of a compositional process whose primary aim is the creation of a new language, where the past becomes a gateway to the future.
Descrição
Palavras-chave
Guitarra portuguesa Música contemporânea Técnica Tradição Transfiguração Composição Fado Carlos Paredes Portuguese guitar Contemporany music Technique Tradition Transfiguration Composition