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Advisor(s)
Abstract(s)
Nesta dissertação procurou realizar-se um estudo sistemático sobre a forma como a estrutura cíclica pode ser entendida enquanto estratégia temporal no processo da composição musical. Com esta sistematização pretendeu-se ordenar alguns aspetos da minha prática composicional, focada na utilização de estruturas no contexto de uma dinâmica temporal da música, enquanto força impulsionadora de tensão e distensão. Relativamente à dinâmica temporal, abordaram-se três aspetos, de entre os fundamentais: a estrutura cíclica, o silêncio associado ao timbre como ferramenta de projeção temporal de uma obra musical e a
compreensão do impacto deste na própria estrutura.
A dissertação começa por enquadrar as várias dimensões envolvidas na ideia do tempo numa perspetiva mais abrangente, em disciplinas relacionadas com áreas de conhecimento como a filosofia e a psicologia.
Em seguida, abordou-se o tempo sob o ponto de vista estritamente musical, procurando compreender quais os fatores que permitem a transformação da nossa perceção e a categorização de estruturas musicais como imagem do tempo.
Observou-se de forma particular a estrutura cíclica, pela qual se pretendeu fazer um estudo o mais sistemático possível de alguns processos temporais, utilizando o silêncio associado ao timbre, como ferramenta composicional e examinando ainda a forma como os elementos referidos anteriormente se relacionam ao nível da memória e na perceção temporal da música.
Por fim, analisou-se uma obra de cada um dos três compositores selecionados do séc. XX e três da minha autoria, compostas no decurso do Mestrado, nas quais se procurou observar a articulação entre tempo e silêncio.
This dissertation aims to carry out a systematic study on how the cyclic structure can be understood as a time strategy in the process of composing music. This systematic approach is meant to sort some aspects of my compositional practice, focusing on the use of structures in the context of a temporal dynamics of music as a driving force of tension and distension. As far as the temporal dynamics is concerned, three key aspects have been dealt with: the cyclic structure, silence associated with timbre as a tool of temporal projection of a musical work and the understanding of the impact of silence on the structure itself. The dissertation starts by framing the various dimensions involved in the idea of time in a broad perspetive, in subjects related to areas of knowledge such as philosophy and psychology. Next, time was dealt with from strictly musical point of view, trying to understand the factors that allow for the transformation of our perception, as well as the categorization of music structures as an image of time. The cyclic structure was studied in a particular way, with the objetive of making a systematic analysis of some time processes, using silence associated with timbre as a composition tool and also examining the way the previously mentioned elements are related at the level of memory and time perception of music. Finally, an analysis was made of a work of each of the three selected composers from the 20th century and three of my own, composed during my master’s degree, in which we sought to analyse the articulation between time and silence.
This dissertation aims to carry out a systematic study on how the cyclic structure can be understood as a time strategy in the process of composing music. This systematic approach is meant to sort some aspects of my compositional practice, focusing on the use of structures in the context of a temporal dynamics of music as a driving force of tension and distension. As far as the temporal dynamics is concerned, three key aspects have been dealt with: the cyclic structure, silence associated with timbre as a tool of temporal projection of a musical work and the understanding of the impact of silence on the structure itself. The dissertation starts by framing the various dimensions involved in the idea of time in a broad perspetive, in subjects related to areas of knowledge such as philosophy and psychology. Next, time was dealt with from strictly musical point of view, trying to understand the factors that allow for the transformation of our perception, as well as the categorization of music structures as an image of time. The cyclic structure was studied in a particular way, with the objetive of making a systematic analysis of some time processes, using silence associated with timbre as a composition tool and also examining the way the previously mentioned elements are related at the level of memory and time perception of music. Finally, an analysis was made of a work of each of the three selected composers from the 20th century and three of my own, composed during my master’s degree, in which we sought to analyse the articulation between time and silence.
Description
Keywords
Temporalidade Tempo musical Estrutura cíclica Ferramentas composicionais Silêncio Temporality Musical time Cyclic structure Composing tools Silence