Pós-Minimalismo na terceira fase composicional de Gilberto Mendes : décadas de 1980 e 1990
Autor(a) principal: | |
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Data de Publicação: | 2018 |
Tipo de documento: | Tese |
Idioma: | por |
Título da fonte: | Repositório Institucional da UFMT |
Texto Completo: | http://ri.ufmt.br/handle/1/2134 |
Resumo: | It is proposed here to investigate the occurrence of Post-Minimalism in the Gilberto Mendes’ third compositional phase (1980-1990), identifying the existence of characteristics relatable to Post-Minimalism and markers of its presence in that universe. To this end, six works were chosen from the 1980s and 1990s: Três Contos de Cortázar, O Último Tango em Vila Parisi, Il Neige de Nouveau!; Für Anette; Abertura de Ópera Issa and Viva Villa II. The methodology employed, considering the interdisciplinarity of the postgraduate program and the thesis itself, is based on the comparison of the opinion of exponents of the various fields of knowledge such as Philosophy, Sociology, Linguistics, Literary Criticism and Musicology, on the binomial modernism/postmodernism and its derivations for the artistic field, in which Post-Minimalism is inserted, and based on categories such as intertextuality, parody, irony, quotation, and impurity. Among the theorists who were brought out, one can name Scarpetta (1985), Lyotard (2009), Hutcheon (2000), Bloom (1997), and with higher specificity in music namely Straus (1990, 2000), Potter et al (2013), Ap Siôn (2007) and Gann (1997). To identify Post-Minimalism in Mendes’ third phase were used types of analyses as tools, comprehending such a so wide spectrum of amplitude, that there was the unequivocal need to seek the heterogeneity among methods such as Set Theory, intertextual analyzes involving parody, irony, quotation and the Aesthetics of Impurity. The organization of the thesis was made from the general to the specific, being the first chapter to contextualize this process. This has highlighted the delimitations on contemporary cultures and their relationship with modernism and postmodernism through a relevant theoretical framework, with emphasis on some aspects of the avant-garde, and mainly supported by Scarpetta's concepts. The second chapter deals with the question of intertextuality and its variations such as parody, irony, the pastiche, across art forms in general and in music specifically, having as exponents Everett (2004) and Klein (2005). The third chapter focuses on Minimalism and Post-Minimalism themselves, in a broader view, in the field of the arts, narrowing into the musical aspect, discriminating difficulties and strategies to analyze (post) minimalist music. The fourth chapter reveals the composer, bringing a panoramic view of the academic research about his work, over his performance in Brazilian concert music, also presenting samples of his third musical phase, claiming at this point that there really are (post) minimalist features in it. The fifth and sixth chapters work together offering analyzes of the piano and orchestral pieces, respectively, in greater detail. The conclusion makes an accurate retrospective of the whole work with remarks on the concepts brought and finishes up by exposing whether the research has achieved its objectives, establishing the veracity of the initial proposition. The aim of this study is to contribute to a better understanding of Post-Minimalism from an interdisciplinary perspective, as well as to disseminate a more comprehensive understanding of the work of Gilberto Mendes, an exponential Brazilian composer of the 20th century. |
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Pós-Minimalismo na terceira fase composicional de Gilberto Mendes : décadas de 1980 e 1990Pós-MinimalismoGilberto MendesEstética da impurezaIntertextualidade em músicaCNPQ::LINGUISTICA, LETRAS E ARTESPost-MinimalismGilberto MendesAesthetics of impurityIntertextuality in musicIt is proposed here to investigate the occurrence of Post-Minimalism in the Gilberto Mendes’ third compositional phase (1980-1990), identifying the existence of characteristics relatable to Post-Minimalism and markers of its presence in that universe. To this end, six works were chosen from the 1980s and 1990s: Três Contos de Cortázar, O Último Tango em Vila Parisi, Il Neige de Nouveau!; Für Anette; Abertura de Ópera Issa and Viva Villa II. The methodology employed, considering the interdisciplinarity of the postgraduate program and the thesis itself, is based on the comparison of the opinion of exponents of the various fields of knowledge such as Philosophy, Sociology, Linguistics, Literary Criticism and Musicology, on the binomial modernism/postmodernism and its derivations for the artistic field, in which Post-Minimalism is inserted, and based on categories such as intertextuality, parody, irony, quotation, and impurity. Among the theorists who were brought out, one can name Scarpetta (1985), Lyotard (2009), Hutcheon (2000), Bloom (1997), and with higher specificity in music namely Straus (1990, 2000), Potter et al (2013), Ap Siôn (2007) and Gann (1997). To identify Post-Minimalism in Mendes’ third phase were used types of analyses as tools, comprehending such a so wide spectrum of amplitude, that there was the unequivocal need to seek the heterogeneity among methods such as Set Theory, intertextual analyzes involving parody, irony, quotation and the Aesthetics of Impurity. The organization of the thesis was made from the general to the specific, being the first chapter to contextualize this process. This has highlighted the delimitations on contemporary cultures and their relationship with modernism and postmodernism through a relevant theoretical framework, with emphasis on some aspects of the avant-garde, and mainly supported by Scarpetta's concepts. The second chapter deals with the question of intertextuality and its variations such as parody, irony, the pastiche, across art forms in general and in music specifically, having as exponents Everett (2004) and Klein (2005). The third chapter focuses on Minimalism and Post-Minimalism themselves, in a broader view, in the field of the arts, narrowing into the musical aspect, discriminating difficulties and strategies to analyze (post) minimalist music. The fourth chapter reveals the composer, bringing a panoramic view of the academic research about his work, over his performance in Brazilian concert music, also presenting samples of his third musical phase, claiming at this point that there really are (post) minimalist features in it. The fifth and sixth chapters work together offering analyzes of the piano and orchestral pieces, respectively, in greater detail. The conclusion makes an accurate retrospective of the whole work with remarks on the concepts brought and finishes up by exposing whether the research has achieved its objectives, establishing the veracity of the initial proposition. The aim of this study is to contribute to a better understanding of Post-Minimalism from an interdisciplinary perspective, as well as to disseminate a more comprehensive understanding of the work of Gilberto Mendes, an exponential Brazilian composer of the 20th century.Propõe-se aqui investigar a ocorrência do Pós-Minimalismo na terceira fase composicional (décadas de 1980-1990) de Gilberto Mendes tendo como objetivo identificar a existência de características pertinentes ao Pós-Minimalismo, indicadores de sua presença naquele universo, e discriminando como ele se apresenta no contexto. Neste intuito houve a escolha de seis obras das décadas de 1980 e 1990: Três Contos de Cortázar, O Último Tango em Vila Parisi, Il Neige de Nouveau!; Für Anette; Abertura de Ópera Issa e Viva Villa II. A metodologia empregada na pesquisa como um todo, considerando-se a interdisciplinaridade do programa de pós-graduação e da tese ela mesma, é o cotejamento do posicionamento de expoentes dos vários campos do saber, como Filosofia, Sociologia, Linguística, Crítica Literária e Musicologia, sobre o binômio modernismo/pós-modernismo e suas derivações para o campo artístico, no qual o Pós-Minimalismo está inserido, e alicerçado em categorias como intertextualidade, paródia, ironia, citação e impureza. Dos teóricos trazidos destacam-se num quadro amplo Scarpetta (1985), Lyotard (2009), Hutcheon (2000), Bloom (1997), e com maior grau de especificidade na música Straus (1990, 2000), Potter et al (2013), Ap Siôn (2007) e Gann (1997). As ferramentas para obter-se a constatação do Pós-Minimalismo na terceira fase de Mendes foram análises, abrangendo um tão vasto espectro de amplitude, que se verificou a inequívoca necessidade de buscar a heterogeneidade de métodos como Teoria dos Conjuntos, análises intertextuais envolvendo paródia, ironia e citação, e também desvelando a Estética da Impureza. A organização da tese parte do geral para o específico servindo o primeiro capítulo para contextualizar, traçando delimitações sobre culturas contemporâneas e relações com modernismo e pós-modernismo através de um quadro teórico pertinente, mas apoiado principalmente em Scarpetta e dando ênfase em aspectos da vanguarda. O segundo capítulo aborda a questão da intertextualidade e suas flexões como a paródia, a ironia, o pastiche no âmbito artístico em geral e na música em particular, tendo como expoentes Everett (2004) e Klein (2005). O capítulo terceiro traz o Minimalismo e PósMinimalismo mesmos, numa feitura mais ampla, no campo das artes, para em seguida afunilar ao aspecto musical, discriminando dificuldades e estratégias para analisar música (pós) minimalista. O quarto capítulo revela o compositor, trazendo um panorama das pesquisas acadêmicas sobre sua obra, sua atuação na música de concerto brasileira e apresenta amostras da sua terceira fase musical, já postulando haver nela aspectos próprios da fatura (pós) minimalista. Os capítulos quinto e sexto operam juntos oferecendo as análises das peças pianísticas e orquestrais, respectivamente, com alto grau de detalhe. A conclusão faz uma retrospectiva acurada do trabalho com apontamentos sobre os conceitos trazidos e finaliza expondo porque o trabalho fez o que se propôs ao estabelecer a veracidade da proposição inicial. Pretende-se, com este estudo, contribuir para maior conhecimento sobre o PósMinimalismo, sob uma perspectiva interdisciplinar, além de disseminar uma compreensão mais abrangente da obra de Gilberto Mendes, exponencial compositor brasileiro do século XX.Universidade Federal de Mato GrossoBrasilFaculdade de Comunicação e Artes (FCA)UFMT CUC - CuiabáPrograma de Pós-Graduação em Estudos de Cultura ContemporâneaSoares, Teresinha Rodrigues Pradahttp://lattes.cnpq.br/5500175848640333Soares, Teresinha Rodrigues Prada058.228.658-10http://lattes.cnpq.br/5500175848640333Palhares, Taís Helena847.262.456-00http://lattes.cnpq.br/2765912623076079058.228.658-10Azevedo, Maria Thereza de Oliveira546.410.717-72http://lattes.cnpq.br/8345268053922687Raymundo, Sonia Marta Rodrigues075.270.358-70http://lattes.cnpq.br/5646455244693371Barancoski, Ingrid Emma Perle553.434.499-72http://lattes.cnpq.br/3129278157919079Santos, Rita de Cássia Domingues dos2020-10-29T18:13:54Z2018-11-262020-10-29T18:13:54Z2018-09-17info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesisSANTOS, Rita de Cássia Domingues dos. Pós-Minimalismo na terceira fase composicional de Gilberto Mendes: décadas de 1980 e 1990. 2018. 466 f. Tese (Doutorado em Estudos de Cultura Contemporânea) - Universidade Federal de Mato Grosso, Faculdade de Comunicação e Artes, Cuiabá, 2018.http://ri.ufmt.br/handle/1/2134porinfo:eu-repo/semantics/openAccessreponame:Repositório Institucional da UFMTinstname:Universidade Federal de Mato Grosso (UFMT)instacron:UFMT2020-11-01T06:01:13Zoai:localhost:1/2134Repositório InstitucionalPUBhttp://ri.ufmt.br/oai/requestjordanbiblio@gmail.comopendoar:2020-11-01T06:01:13Repositório Institucional da UFMT - Universidade Federal de Mato Grosso (UFMT)false |
dc.title.none.fl_str_mv |
Pós-Minimalismo na terceira fase composicional de Gilberto Mendes : décadas de 1980 e 1990 |
title |
Pós-Minimalismo na terceira fase composicional de Gilberto Mendes : décadas de 1980 e 1990 |
spellingShingle |
Pós-Minimalismo na terceira fase composicional de Gilberto Mendes : décadas de 1980 e 1990 Santos, Rita de Cássia Domingues dos Pós-Minimalismo Gilberto Mendes Estética da impureza Intertextualidade em música CNPQ::LINGUISTICA, LETRAS E ARTES Post-Minimalism Gilberto Mendes Aesthetics of impurity Intertextuality in music |
title_short |
Pós-Minimalismo na terceira fase composicional de Gilberto Mendes : décadas de 1980 e 1990 |
title_full |
Pós-Minimalismo na terceira fase composicional de Gilberto Mendes : décadas de 1980 e 1990 |
title_fullStr |
Pós-Minimalismo na terceira fase composicional de Gilberto Mendes : décadas de 1980 e 1990 |
title_full_unstemmed |
Pós-Minimalismo na terceira fase composicional de Gilberto Mendes : décadas de 1980 e 1990 |
title_sort |
Pós-Minimalismo na terceira fase composicional de Gilberto Mendes : décadas de 1980 e 1990 |
author |
Santos, Rita de Cássia Domingues dos |
author_facet |
Santos, Rita de Cássia Domingues dos |
author_role |
author |
dc.contributor.none.fl_str_mv |
Soares, Teresinha Rodrigues Prada http://lattes.cnpq.br/5500175848640333 Soares, Teresinha Rodrigues Prada 058.228.658-10 http://lattes.cnpq.br/5500175848640333 Palhares, Taís Helena 847.262.456-00 http://lattes.cnpq.br/2765912623076079 058.228.658-10 Azevedo, Maria Thereza de Oliveira 546.410.717-72 http://lattes.cnpq.br/8345268053922687 Raymundo, Sonia Marta Rodrigues 075.270.358-70 http://lattes.cnpq.br/5646455244693371 Barancoski, Ingrid Emma Perle 553.434.499-72 http://lattes.cnpq.br/3129278157919079 |
dc.contributor.author.fl_str_mv |
Santos, Rita de Cássia Domingues dos |
dc.subject.por.fl_str_mv |
Pós-Minimalismo Gilberto Mendes Estética da impureza Intertextualidade em música CNPQ::LINGUISTICA, LETRAS E ARTES Post-Minimalism Gilberto Mendes Aesthetics of impurity Intertextuality in music |
topic |
Pós-Minimalismo Gilberto Mendes Estética da impureza Intertextualidade em música CNPQ::LINGUISTICA, LETRAS E ARTES Post-Minimalism Gilberto Mendes Aesthetics of impurity Intertextuality in music |
description |
It is proposed here to investigate the occurrence of Post-Minimalism in the Gilberto Mendes’ third compositional phase (1980-1990), identifying the existence of characteristics relatable to Post-Minimalism and markers of its presence in that universe. To this end, six works were chosen from the 1980s and 1990s: Três Contos de Cortázar, O Último Tango em Vila Parisi, Il Neige de Nouveau!; Für Anette; Abertura de Ópera Issa and Viva Villa II. The methodology employed, considering the interdisciplinarity of the postgraduate program and the thesis itself, is based on the comparison of the opinion of exponents of the various fields of knowledge such as Philosophy, Sociology, Linguistics, Literary Criticism and Musicology, on the binomial modernism/postmodernism and its derivations for the artistic field, in which Post-Minimalism is inserted, and based on categories such as intertextuality, parody, irony, quotation, and impurity. Among the theorists who were brought out, one can name Scarpetta (1985), Lyotard (2009), Hutcheon (2000), Bloom (1997), and with higher specificity in music namely Straus (1990, 2000), Potter et al (2013), Ap Siôn (2007) and Gann (1997). To identify Post-Minimalism in Mendes’ third phase were used types of analyses as tools, comprehending such a so wide spectrum of amplitude, that there was the unequivocal need to seek the heterogeneity among methods such as Set Theory, intertextual analyzes involving parody, irony, quotation and the Aesthetics of Impurity. The organization of the thesis was made from the general to the specific, being the first chapter to contextualize this process. This has highlighted the delimitations on contemporary cultures and their relationship with modernism and postmodernism through a relevant theoretical framework, with emphasis on some aspects of the avant-garde, and mainly supported by Scarpetta's concepts. The second chapter deals with the question of intertextuality and its variations such as parody, irony, the pastiche, across art forms in general and in music specifically, having as exponents Everett (2004) and Klein (2005). The third chapter focuses on Minimalism and Post-Minimalism themselves, in a broader view, in the field of the arts, narrowing into the musical aspect, discriminating difficulties and strategies to analyze (post) minimalist music. The fourth chapter reveals the composer, bringing a panoramic view of the academic research about his work, over his performance in Brazilian concert music, also presenting samples of his third musical phase, claiming at this point that there really are (post) minimalist features in it. The fifth and sixth chapters work together offering analyzes of the piano and orchestral pieces, respectively, in greater detail. The conclusion makes an accurate retrospective of the whole work with remarks on the concepts brought and finishes up by exposing whether the research has achieved its objectives, establishing the veracity of the initial proposition. The aim of this study is to contribute to a better understanding of Post-Minimalism from an interdisciplinary perspective, as well as to disseminate a more comprehensive understanding of the work of Gilberto Mendes, an exponential Brazilian composer of the 20th century. |
publishDate |
2018 |
dc.date.none.fl_str_mv |
2018-11-26 2018-09-17 2020-10-29T18:13:54Z 2020-10-29T18:13:54Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/doctoralThesis |
format |
doctoralThesis |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
SANTOS, Rita de Cássia Domingues dos. Pós-Minimalismo na terceira fase composicional de Gilberto Mendes: décadas de 1980 e 1990. 2018. 466 f. Tese (Doutorado em Estudos de Cultura Contemporânea) - Universidade Federal de Mato Grosso, Faculdade de Comunicação e Artes, Cuiabá, 2018. http://ri.ufmt.br/handle/1/2134 |
identifier_str_mv |
SANTOS, Rita de Cássia Domingues dos. Pós-Minimalismo na terceira fase composicional de Gilberto Mendes: décadas de 1980 e 1990. 2018. 466 f. Tese (Doutorado em Estudos de Cultura Contemporânea) - Universidade Federal de Mato Grosso, Faculdade de Comunicação e Artes, Cuiabá, 2018. |
url |
http://ri.ufmt.br/handle/1/2134 |
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por |
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info:eu-repo/semantics/openAccess |
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openAccess |
dc.publisher.none.fl_str_mv |
Universidade Federal de Mato Grosso Brasil Faculdade de Comunicação e Artes (FCA) UFMT CUC - Cuiabá Programa de Pós-Graduação em Estudos de Cultura Contemporânea |
publisher.none.fl_str_mv |
Universidade Federal de Mato Grosso Brasil Faculdade de Comunicação e Artes (FCA) UFMT CUC - Cuiabá Programa de Pós-Graduação em Estudos de Cultura Contemporânea |
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reponame:Repositório Institucional da UFMT instname:Universidade Federal de Mato Grosso (UFMT) instacron:UFMT |
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Universidade Federal de Mato Grosso (UFMT) |
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UFMT |
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Repositório Institucional da UFMT |
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Repositório Institucional da UFMT - Universidade Federal de Mato Grosso (UFMT) |
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jordanbiblio@gmail.com |
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