Kurze Schatten II: compositional procedures and aesthetic principles

Detalhes bibliográficos
Autor(a) principal: Azzi, Artur de Melo Miranda
Data de Publicação: 2022
Outros Autores: Barbosa, Rogério Vasconcelos
Tipo de documento: Artigo
Idioma: por
Título da fonte: Per Musi
Texto Completo: https://periodicos.ufmg.br/index.php/permusi/article/view/36934
Resumo: The article proposes an analysis of the guitar piece Kurze Schatten II by Brian Ferneyhough. The analysis aims to understand the compositional procedures and aesthetic principles of the composer, revealing an approximation with concepts from the thought of Gilles Deleuze, Felix Guattari and T. Adorno. By understanding the elements that manage the internal logic of the work, it is evident that the composer's serialist heritage, developed in the light of the Adornian concept of informal music, is present in the structural components of Kurze Schatten II and in the processuality of the creative gesture. The rupture with the traditional concept of unity perceived in the analysis originates a music of transformations, passages, approximations and contrasts, realized in a rhizomatic space operated by differences and impermanences. The technical analysis of the work brings to the forefront issues that are better understood in the light of these considerations of aesthetic order.
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spelling Kurze Schatten II: compositional procedures and aesthetic principlesKurze Schatten II: procedimientos de composición y principios estéticos Kurze Schatten II: procedimentos composicionais e princípios estéticos AnalysisContemporary musicMusic theoryBrian FerneyhoughGuitarAnáliseMúsica contemporâneaTeoria da músicaBrian FerneyhoughViolãoAnálisisMúsica contemporáneaTeoría musicalBrian FerneyhoughGuitarraThe article proposes an analysis of the guitar piece Kurze Schatten II by Brian Ferneyhough. The analysis aims to understand the compositional procedures and aesthetic principles of the composer, revealing an approximation with concepts from the thought of Gilles Deleuze, Felix Guattari and T. Adorno. By understanding the elements that manage the internal logic of the work, it is evident that the composer's serialist heritage, developed in the light of the Adornian concept of informal music, is present in the structural components of Kurze Schatten II and in the processuality of the creative gesture. The rupture with the traditional concept of unity perceived in the analysis originates a music of transformations, passages, approximations and contrasts, realized in a rhizomatic space operated by differences and impermanences. The technical analysis of the work brings to the forefront issues that are better understood in the light of these considerations of aesthetic order.El artículo propone un análisis de la pieza para guitarra Kurze Schatten II de Brian Ferneyhough. El análisis pretende comprender los procedimientos compositivos y los principios estéticos del compositor, revelando una aproximación con conceptos del pensamiento de Gilles Deleuze, Felix Guattari y T. Adorno. Al comprender los elementos que gestionan la lógica interna de la obra, se hace evidente que la herencia serialista del compositor, desarrollada a la luz del concepto adorniano de música informal, está presente en los componentes estructurales de Kurze Schatten II y en la procesualidad del gesto creativo. La ruptura con el concepto tradicional de unidad percibida en el análisis origina una música de transformaciones, pasajes, aproximaciones y contrastes, realizada en un espacio rizomático operado por diferencias e impermanencias. El análisis técnico de la obra pone en primer plano cuestiones que se comprenden mejor a la luz de estas consideraciones de orden estético.O artigo propõe uma análise da obra para violão Kurze Schatten II de Brian Ferneyhough. A análise tem como objetivo compreender os procedimentos composicionais e princípios estéticos do compositor, revelando uma aproximação com conceitos oriundos do pensamento de Gilles Deleuze, Felix Guattari e T. Adorno. A partir da compreensão dos elementos que regem a lógica interna da obra é evidenciado que a herança serialista do compositor, desenvolvida à luz do conceito adorniano de música informal está presente nas componentes estruturais de Kurze Schatten II e na processualidade do gesto criativo. O rompimento com o conceito tradicional de unidade percebido na análise origina uma música de transformações, passagens, aproximações e contrastes, efetivada em um espaço rizomático operado por um jogo de diferenças e impermanências. A análise técnica da obra traz a primeiro plano questões que são melhor compreendidas à luz dessas considerações de ordem estética.Universidade Federal de Minas Gerais (UFMG)2022-04-08info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionTextTextinfo:eu-repo/semantics/othertext/htmltext/xmlapplication/pdfhttps://periodicos.ufmg.br/index.php/permusi/article/view/3693410.35699/2317-6377.2022.36934Per Musi; No. 42 (2022): General Topics; 1-27Per Musi; Núm. 42 (2022): General Topics; 1-27Per Musi; n. 42 (2022): General Topics; 1-272317-63771517-7599reponame:Per Musiinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGporhttps://periodicos.ufmg.br/index.php/permusi/article/view/36934/37500https://periodicos.ufmg.br/index.php/permusi/article/view/36934/37501https://periodicos.ufmg.br/index.php/permusi/article/view/36934/30222Copyright (c) 2022 Per Musihttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessAzzi, Artur de Melo MirandaBarbosa, Rogério Vasconcelos2023-10-14T00:15:28Zoai:periodicos.ufmg.br:article/36934Revistahttp://www.scielo.br/revistas/pm/iaboutj.htmPUBhttps://old.scielo.br/oai/scielo-oai.phpantoniom@fgvnf.br||permusi@ufmg.br2317-63771517-7599opendoar:2023-10-14T00:15:28Per Musi - Universidade Federal de Minas Gerais (UFMG)false
dc.title.none.fl_str_mv Kurze Schatten II: compositional procedures and aesthetic principles
Kurze Schatten II: procedimientos de composición y principios estéticos
Kurze Schatten II: procedimentos composicionais e princípios estéticos
title Kurze Schatten II: compositional procedures and aesthetic principles
spellingShingle Kurze Schatten II: compositional procedures and aesthetic principles
Azzi, Artur de Melo Miranda
Analysis
Contemporary music
Music theory
Brian Ferneyhough
Guitar
Análise
Música contemporânea
Teoria da música
Brian Ferneyhough
Violão
Análisis
Música contemporánea
Teoría musical
Brian Ferneyhough
Guitarra
title_short Kurze Schatten II: compositional procedures and aesthetic principles
title_full Kurze Schatten II: compositional procedures and aesthetic principles
title_fullStr Kurze Schatten II: compositional procedures and aesthetic principles
title_full_unstemmed Kurze Schatten II: compositional procedures and aesthetic principles
title_sort Kurze Schatten II: compositional procedures and aesthetic principles
author Azzi, Artur de Melo Miranda
author_facet Azzi, Artur de Melo Miranda
Barbosa, Rogério Vasconcelos
author_role author
author2 Barbosa, Rogério Vasconcelos
author2_role author
dc.contributor.author.fl_str_mv Azzi, Artur de Melo Miranda
Barbosa, Rogério Vasconcelos
dc.subject.por.fl_str_mv Analysis
Contemporary music
Music theory
Brian Ferneyhough
Guitar
Análise
Música contemporânea
Teoria da música
Brian Ferneyhough
Violão
Análisis
Música contemporánea
Teoría musical
Brian Ferneyhough
Guitarra
topic Analysis
Contemporary music
Music theory
Brian Ferneyhough
Guitar
Análise
Música contemporânea
Teoria da música
Brian Ferneyhough
Violão
Análisis
Música contemporánea
Teoría musical
Brian Ferneyhough
Guitarra
description The article proposes an analysis of the guitar piece Kurze Schatten II by Brian Ferneyhough. The analysis aims to understand the compositional procedures and aesthetic principles of the composer, revealing an approximation with concepts from the thought of Gilles Deleuze, Felix Guattari and T. Adorno. By understanding the elements that manage the internal logic of the work, it is evident that the composer's serialist heritage, developed in the light of the Adornian concept of informal music, is present in the structural components of Kurze Schatten II and in the processuality of the creative gesture. The rupture with the traditional concept of unity perceived in the analysis originates a music of transformations, passages, approximations and contrasts, realized in a rhizomatic space operated by differences and impermanences. The technical analysis of the work brings to the forefront issues that are better understood in the light of these considerations of aesthetic order.
publishDate 2022
dc.date.none.fl_str_mv 2022-04-08
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
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status_str publishedVersion
dc.identifier.uri.fl_str_mv https://periodicos.ufmg.br/index.php/permusi/article/view/36934
10.35699/2317-6377.2022.36934
url https://periodicos.ufmg.br/index.php/permusi/article/view/36934
identifier_str_mv 10.35699/2317-6377.2022.36934
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://periodicos.ufmg.br/index.php/permusi/article/view/36934/37500
https://periodicos.ufmg.br/index.php/permusi/article/view/36934/37501
https://periodicos.ufmg.br/index.php/permusi/article/view/36934/30222
dc.rights.driver.fl_str_mv Copyright (c) 2022 Per Musi
http://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2022 Per Musi
http://creativecommons.org/licenses/by/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv text/html
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dc.publisher.none.fl_str_mv Universidade Federal de Minas Gerais (UFMG)
publisher.none.fl_str_mv Universidade Federal de Minas Gerais (UFMG)
dc.source.none.fl_str_mv Per Musi; No. 42 (2022): General Topics; 1-27
Per Musi; Núm. 42 (2022): General Topics; 1-27
Per Musi; n. 42 (2022): General Topics; 1-27
2317-6377
1517-7599
reponame:Per Musi
instname:Universidade Federal de Minas Gerais (UFMG)
instacron:UFMG
instname_str Universidade Federal de Minas Gerais (UFMG)
instacron_str UFMG
institution UFMG
reponame_str Per Musi
collection Per Musi
repository.name.fl_str_mv Per Musi - Universidade Federal de Minas Gerais (UFMG)
repository.mail.fl_str_mv antoniom@fgvnf.br||permusi@ufmg.br
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