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Abstract(s)
O objectivo primordial desta tese é demonstrar a técnica composicional em 72 partes por oitava. Tendo me dedicado nestes últimos anos à investigação e criação de Música com intervalos menores que Meio-tom, pretendo demonstrar a dinâmica que esta divisão de oitava em intervalos de menor magnitude aufere. Os componentes constituintes da propriedade de um som, são melhor demonstrados quando os intervalos musicais da divisão de oitava em partes iguais, serem de menor magnitude possível, até ao limite arbitrário humano de percepção intervalar.
A tese começa com uma visão mais ampla sobre o estado de arte em resenha histórica, partindo para o objectivo particular da justificação do tema principal. A investigação torna-se sistemática quando retiramos sínteses do estudo com base em autores sobre a conceptualidade composicional no período da antiguidade clássica na Grécia.
Estando descriminada a fonte histórica que justifica este aparato, é demonstrada de forma sucinta, um comportamento harmónico e melódico deste sistema de Temperamento em partes iguais.
Concluo com uma breve análise a excertos de uma Obra que escrevi durante o período em que frequentei o Mestrado, e que será executada no recital final, como tubo de ensaio para toda a minha dissertação.
The primary goal of this thesis is to demonstrate the compositional technique in 72 parts or moria per octave. Meanwhile, in the last years of devotion and research, i create music with language that thrives and intend to demonstrate music intervals smaller than semitone. When we divide the octave in more parts than the twelve usual parts until the perception of ear cannot distinguish with accuracy, the small intervals in magnitude that results, is the best well showing to represent the components of sound and timbre. The thesis begins with a wider vision about a short and brief historical state of Art review, from the specific to objective justification of the main theme. The investigation begans more systematic when i absord the synthesis of study based on Classical Antiquity in Greece. Hencefourth, the historical source being discriminated, justifies the all apparatus, and demonstrated succinctly the harmonic and melodic behavior in this 72 parts equal temperament. A brief analysis concludes with excerpts from a piece written during the period attended to Master degree, and consequent performance of the piece like a trully demonstration of the study.
The primary goal of this thesis is to demonstrate the compositional technique in 72 parts or moria per octave. Meanwhile, in the last years of devotion and research, i create music with language that thrives and intend to demonstrate music intervals smaller than semitone. When we divide the octave in more parts than the twelve usual parts until the perception of ear cannot distinguish with accuracy, the small intervals in magnitude that results, is the best well showing to represent the components of sound and timbre. The thesis begins with a wider vision about a short and brief historical state of Art review, from the specific to objective justification of the main theme. The investigation begans more systematic when i absord the synthesis of study based on Classical Antiquity in Greece. Hencefourth, the historical source being discriminated, justifies the all apparatus, and demonstrated succinctly the harmonic and melodic behavior in this 72 parts equal temperament. A brief analysis concludes with excerpts from a piece written during the period attended to Master degree, and consequent performance of the piece like a trully demonstration of the study.
Description
Keywords
Aristóxeno de Tarento Cleonides Diatessaron Aritmética dos intervalos musicais Divisão do intervalo musical de quarta pura (4/3) em 30 partes Espaço acústico Tetracorde Entonação justa Aristoxenus of Tarentum Arithmetic of musical intervals Spectral space Tetrachord Interval of a fourth (4/3) in 30 equal parts Just intonation