| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 3.43 MB | Adobe PDF |
Abstract(s)
O presente projeto visa estudar os processos composicionais utilizados por guitarristas-compositores contemporâneos, os quais, como o nome indica, são simultaneamente intérpretes e compositores. Para abordar o assunto, é definido um modelo teórico que considera, por um lado, o processo de composição propriamente dito, e, por outro, os resultados desse processo ao nível de uma escrita mais ou menos idiomática. Quanto ao primeiro aspeto, averigua-se, em particular, qual o grau de relação com o instrumento e qual o peso da improvisação no processo composicional; quanto ao segundo, identificam-se diferentes texturas de acordo com o seu idiomatismo. O objetivo final é procurar estabelecer uma relação entre processos e resultados, e averiguar se processos que utilizam mais a guitarra e a improvisação podem resultar em texturas mais idiomáticas, e, da mesma forma, se processos que utilizam menos a guitarra e a improvisação podem resultar em texturas menos idiomáticas. Para tal, é realizado um estudo de caso, analisando as texturas e processos composicionais inerentes a Due Canzoni Lidie (1984), de Nuccio D’Angelo, e à Sonata nº3 (2010), de Dusan Bogdanovic. Neste estudo, verifica-se que a Sonata (2010) tem maior incidência em texturas menos idiomáticas (como o contraponto) e o seu processo de composição foi, maioritariamente, afastado da guitarra e independente da improvisação; no caso de Due Canzoni Lidie (1984), nota-se, comparativamente, uma maior
incidência em texturas mais idiomáticas (como o arpejo), o que pode ser resultado do uso moderado do instrumento no seu processo composicional. Conclui-se, portanto, que processos composicionais que utilizam moderadamente o instrumento e a improvisação podem resultar em texturas mais idiomáticas.
This project aims to study the compositional processes employed by contemporary guitarist-composers, who, as the designation implies, are both interpreters and composers. To approach the subject, a theoretical model is defined that considers, on the one hand, the composition process itself, and, on the other hand, the results of this process at the level of a more or less idiomatic writing. As for the first aspect, it is verified, in particular, what is the degree of relationship with the instrument and what is the weight of improvisation in the compositional process; as for the second, different textures are identified according to their idiomatism. The ultimate goal is to try to establish a relationship between processes and results, as well as to find out whether processes that use more the guitar and improvisation can result in more idiomatic textures, and, likewise, whether processes that use less the guitar and improvisation result in less idiomatic textures. To this end, a case study is carried out, analyzing the textures and compositional processes of Due Canzoni Lidie (1984), by Nuccio D’Angelo, and Sonata nº3 (2010), by Dusan Bogdanovic. In this study, it appears that Sonata has a higher incidence in less idiomatic textures (such as counterpoint) and its composition process was mostly separated from the guitar and independent of improvisation; in the case of Due Canzoni Lidie, there is a comparatively greater incidence of more idiomatic textures (such as the arpeggio), which may be the result of the moderate use of the instrument in the compositional process. It is concluded, therefore, that compositional processes with a moderate use of the instrument and improvisation can result in more idiomatic textures.
This project aims to study the compositional processes employed by contemporary guitarist-composers, who, as the designation implies, are both interpreters and composers. To approach the subject, a theoretical model is defined that considers, on the one hand, the composition process itself, and, on the other hand, the results of this process at the level of a more or less idiomatic writing. As for the first aspect, it is verified, in particular, what is the degree of relationship with the instrument and what is the weight of improvisation in the compositional process; as for the second, different textures are identified according to their idiomatism. The ultimate goal is to try to establish a relationship between processes and results, as well as to find out whether processes that use more the guitar and improvisation can result in more idiomatic textures, and, likewise, whether processes that use less the guitar and improvisation result in less idiomatic textures. To this end, a case study is carried out, analyzing the textures and compositional processes of Due Canzoni Lidie (1984), by Nuccio D’Angelo, and Sonata nº3 (2010), by Dusan Bogdanovic. In this study, it appears that Sonata has a higher incidence in less idiomatic textures (such as counterpoint) and its composition process was mostly separated from the guitar and independent of improvisation; in the case of Due Canzoni Lidie, there is a comparatively greater incidence of more idiomatic textures (such as the arpeggio), which may be the result of the moderate use of the instrument in the compositional process. It is concluded, therefore, that compositional processes with a moderate use of the instrument and improvisation can result in more idiomatic textures.
Description
Keywords
Guitarrista-compositor contemporâneo Processo composicional Improvisação Textura Nuccio D’Angelo Dusan Bogdanovic Contemporary guitarist-composer Compositional process Improvisation Texture