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Abstract(s)
Este trabalho contém uma abordagem descritiva de cinco concertos brasileiras para Clarinete e Orquestra. Tem como objetivo apontar as influências rítmicas, harmônicas, melódicas e estéticas que os compositores utilizaram na elaboração de tais obras. Além disso, realiza-se uma descrição dos concertos, articulando-os com as influências dos ritmos brasileiros e canções folclóricas identificados nestes. Abordamos ritmos oriundos do frevo, baião, forró, ijexá, lundu, choro e outras fortes influências identificadas no estudo das obras.
Nas cinco obras contrastantes menciona-se também opções por texturas atonais, que são utilizadas em duas obras, retratando a diversidade expressiva brasileira nos concertos destes compositores.
Ao longo deste trabalho refletimos sobre o papel da indústria cultural na propagação de obras brasileiras, através do ponto de vista dos compositores sobre a influência da indústria cultural, no que se refere à propagação destas.
This paper is a comprehensive descriptive study of five Brazilian works for Clarinet and Orchestra. It aims to point out the rhythmic, harmonic, melodic and aesthetic influences that the composers used in the elaboration of such concertos. In addition, a deeper description of the concertos is made by identifying the presence of Brazilian rhythms and folk songs. We approache such rhythms as frevo, baião, forró, ijexá, lundu, choro and other strong influences. In these five very contrasting works, we also found atonal textures which appear in two of the works, portraying a significant brazilian artistic diversity. We reflected upon the duty of the cultural industry and how it, according to the composers, does not help in the propagation these more or less unknown works.
This paper is a comprehensive descriptive study of five Brazilian works for Clarinet and Orchestra. It aims to point out the rhythmic, harmonic, melodic and aesthetic influences that the composers used in the elaboration of such concertos. In addition, a deeper description of the concertos is made by identifying the presence of Brazilian rhythms and folk songs. We approache such rhythms as frevo, baião, forró, ijexá, lundu, choro and other strong influences. In these five very contrasting works, we also found atonal textures which appear in two of the works, portraying a significant brazilian artistic diversity. We reflected upon the duty of the cultural industry and how it, according to the composers, does not help in the propagation these more or less unknown works.
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Keywords
Concertos brasileiros Clarinete Ritmos brasileiros Estética Música popular Brazilian concerts Clarinet Brazilian rhythms Aesthetics Popular music