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O presente trabalho visa apresentar uma parte da obra poética do escritor brasileiro Manuel Bandeira, que inspirou a criação de variado repertório camerístico por parte de diversos compositores brasileiros. São seis capítulos com a inclusão de uma análise de peças musicais preparadas para um recital, parte integrante deste Projeto de Mestrado. No primeiro capítulo, o enfoque é na relação do poeta com a música. Desde as suas primeiras referências como escritor até a influência evidente da linguagem e temática musical por toda a sua
obra poética. O capítulo também discorre sobre a trajetória da canção de câmara no Brasil e o nascimento do Movimento Modernista Brasileiro responsável por desenvolver uma corrente nacionalista que influenciaria toda uma geração de artistas e ligaria Manuel Bandeira a muitos compositores da época. No segundo capítulo, o destaque vai para o compositor Heitor Villa-Lobos, primeiro parceiro musical de Bandeira, autor de importantes canções do repertório vocal brasileiro. O terceiro capítulo dedica-se a relação de amizade e parceria musical entre o escritor e o compositor Jayme Ovalle, autor da célebre canção Azulão. No quarto capítulo as raízes brasileiras são plantadas nas canções fruto da parceria do escritor com o compositor Francisco Mignone. O quinto capítulo, relata a reinterpretação musical feita de alguns dos poemas mais importantes da obra “banderiana” musicados de forma diversa por diferentes compositores, além da composição baseada em seu poema mais célebre Vou-me embora pra Pasárgada. O sexto e último capítulo trata da análise musical das dezesseis canções de câmara escolhidas para o recital com o objetivo de apresentar um panorama da obra vocal realizada a partir da genialidade poético-musical de Manuel Bandeira a pintar um quadro com as diferentes cores da música de câmara brasileira.
The present work aims to show a part of the poetic work of the Brazilan writer Manuel Bandeira, who inspired the creation of a varied chamber repertoire by several Brazilian composers. There are six chapters with the inclusion of an analysis of musical pieces prepared for a recital, forming part of this Master’s Project. In the first chapter, the focus is on the relationship between the poet and music. From his first references as a writer to the evident influence of language and musical themes throughout his poetic work. The chapter also discusses the trajectory of chamber music in Brazil and the birth of the Brazilian Modernist Movement responsible for developing a nationalist trend that would influence a whole generation of artists and connect Manuel Bandeira to many composers of the time. In the second chapter, the highlight goes to the composer Heitor VillaLobos, Bandeira’s first musical partner, author of important songs from the Brazilan vocal repertoire. The third chapter is dedicated to the friendship and musical partnership between the writer and the composer Jayme Ovalle, author of the famous song Azulão. In the fourth chapter, the Brazilian roots are planted in the songs resulting the writer’s partnership with the composer Francisco Mignone. The fifth chapter, relates the musical reinterpretation made with some of the most important poems of the poet’s work musiced in different ways by different composers. In addition, the composition based on his most famous poem Vou-me embora pra Pasárgada. The sixth and last chapter deals with the musical analysis of the sixteen chamber songs chosen for the recital in order to present an overview of the vocal work carried out from Manuel Bandeira’s poetic-musical genius painting a picture with the different colors of the Brazilian chamber music.
The present work aims to show a part of the poetic work of the Brazilan writer Manuel Bandeira, who inspired the creation of a varied chamber repertoire by several Brazilian composers. There are six chapters with the inclusion of an analysis of musical pieces prepared for a recital, forming part of this Master’s Project. In the first chapter, the focus is on the relationship between the poet and music. From his first references as a writer to the evident influence of language and musical themes throughout his poetic work. The chapter also discusses the trajectory of chamber music in Brazil and the birth of the Brazilian Modernist Movement responsible for developing a nationalist trend that would influence a whole generation of artists and connect Manuel Bandeira to many composers of the time. In the second chapter, the highlight goes to the composer Heitor VillaLobos, Bandeira’s first musical partner, author of important songs from the Brazilan vocal repertoire. The third chapter is dedicated to the friendship and musical partnership between the writer and the composer Jayme Ovalle, author of the famous song Azulão. In the fourth chapter, the Brazilian roots are planted in the songs resulting the writer’s partnership with the composer Francisco Mignone. The fifth chapter, relates the musical reinterpretation made with some of the most important poems of the poet’s work musiced in different ways by different composers. In addition, the composition based on his most famous poem Vou-me embora pra Pasárgada. The sixth and last chapter deals with the musical analysis of the sixteen chamber songs chosen for the recital in order to present an overview of the vocal work carried out from Manuel Bandeira’s poetic-musical genius painting a picture with the different colors of the Brazilian chamber music.
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Keywords
Poesia Música Canção de câmara Composição Parceria musical Nacionalismo Poetry Music Chamber song Composition Musical partnership Nationalism