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Abstract(s)
A génese das formas musicais descontínuas remonta à transição entre os séculos XIX e
XX e as mesmas têm sido usadas como um recurso na prática musical de diversos
compositores até à atualidade. Assim, este documento visa propor um novo tipo de
forma musical descontínua, a forma macro-mosaico, através de um projeto que engloba
a criação de sete peças para agrupamentos de câmara—três trios e quatro quartetos—em
que os instrumentos são todos iguais e se situam nos extremos do registo. Este universo
tímbrico une-se ao estudo da textura e das intensidades como elementos delineadores da
forma musical, amplificando o carácter expressivo da descontinuidade na forma
musical, uma vez que, face à análise das peças originais e de peças referenciadas,
foi-nos possível concluir que o discurso inerente à prática musical que resulta da
aplicação de formas descontínuas contribui, desde a sua génese, para a igual
importância dos parâmetros do som no desenvolvimento do discurso musical. Os
instrumentos iguais nos extremos do registo, proporcionado um contexto de estranheza
dos timbres, relacionam-se intimamente com o conceito do unheimliche . Deste modo,
os instrumentos iguais surgem, através da repetição como ferramenta para o
desenvolvimento do discurso e da sua relação com a forma macro-mosaico, como
ensembles despidos de ideias pré-concebidas, possibilitando uma audição que privilegia
a curiosidade e o entusiasmo, estados de espírito que levam a uma maior predisposição
para o contacto com a descontinuidade do discurso musical.
ABSTRACT - The genesis of discontinuous musical forms dates back to the transition between the 19th and 20th centuries and they have been used as a resource in the music practice of various composers to date. Thus, this paper aims to propose a new type of discontinuous musical form, the macro-mosaic form, through a project that encompasses the creation of seven pieces for chamber ensembles — three trios and four quartets — in which the instruments are all the same and are at the ends of the register. This timbre universe joins the study of texture and intensities as delineating elements of the musical form, amplifying the expressive character of the discontinuity in the musical form, since, due to the analysis of the original and referenced pieces, it was possible to conclude that the discourse inherent in musical practice that results from the application of discontinuous forms contributes, since its inception, to the equal importance of sound parameters in the development of musical discourse. Equal instruments at the ends of the pitch register, provided a strangeness context of timbre, are closely related to the concept of unheimliche. Thus, equal instruments ensembles emerge, through repetition as a tool for the development of discourse and its relation to the macro-mosaic form, as ensembles stripped of preconceived ideas, enabling a hearing that privileges curiosity and enthusiasm, states which lead to a greater predisposition to contact discontinuity of musical speech.
ABSTRACT - The genesis of discontinuous musical forms dates back to the transition between the 19th and 20th centuries and they have been used as a resource in the music practice of various composers to date. Thus, this paper aims to propose a new type of discontinuous musical form, the macro-mosaic form, through a project that encompasses the creation of seven pieces for chamber ensembles — three trios and four quartets — in which the instruments are all the same and are at the ends of the register. This timbre universe joins the study of texture and intensities as delineating elements of the musical form, amplifying the expressive character of the discontinuity in the musical form, since, due to the analysis of the original and referenced pieces, it was possible to conclude that the discourse inherent in musical practice that results from the application of discontinuous forms contributes, since its inception, to the equal importance of sound parameters in the development of musical discourse. Equal instruments at the ends of the pitch register, provided a strangeness context of timbre, are closely related to the concept of unheimliche. Thus, equal instruments ensembles emerge, through repetition as a tool for the development of discourse and its relation to the macro-mosaic form, as ensembles stripped of preconceived ideas, enabling a hearing that privileges curiosity and enthusiasm, states which lead to a greater predisposition to contact discontinuity of musical speech.
Description
Relatório de Projecto Artístico apresentado à Escola Superior de Música de Lisboa do Instituto Politécnico de Lisboa, para cumprimento dos requisitos à obtenção do grau de Mestre em Música
Keywords
Forma macro-mosaico Forma mosaico Momentform Unheimliche Timbre Textura Análise musical Macro-mosaic form Mosaic form Musical texture Musical analysis
Citation
Publisher
Instituto Politécnico de Lisboa - Escola Superior de Música de Lisboa