A relação entre estímulo partitural e resultado sonoro no script “Quatre Fois” de Didier Guigue
Autor(a) principal: | |
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Data de Publicação: | 2019 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações da UFPB |
Texto Completo: | https://repositorio.ufpb.br/jspui/handle/123456789/21612 |
Resumo: | This work of research has as its main objective to comprehend the piece Quatre Fois in a paradigm that considers the performance (and its implications) as fundamental. Its score (here seen as a script) can’t be read in solfeggio style, so it can’t have a directly tone output. That – at least at the beginning – is the reason for us to consider the performance-bound analytical approach as a viable solution. Therefore we are using the idea of Musical Morphology from Fiel da Costa (2016; 2017; 2018). Through this logic, we now see the script Quatre Fois as a stimulus which is animated by the performance process, that relation generates, then, an effect which its recurrence generates a morphological nexus, meaning that as a result of artistic nature, specially sonic. Analytically, all of those objects accrues from the performance process and their interactions are considered spots for analysis. Regarding our case, Quatre Fois, it was possible to study all the versions that were made and that we have notice of, from the year 1980 to 2018. The montages were made by 5 groups/individuals: the very composer of the piece, Didier Guigue (DG); the group whypatterns_ (WP); Valério Fiel da Costa and Matteo Ciacchi on the collective Artesanato Furioso (AF); and the American bassist Daniel Barbiero (DB). Using specific methodological tools, we could see from the montages of these groups the general morphology from the piece as an object of complex sonority, often noisy. The script ‘diverges to itself’ performance actions of which their formal schemes could give us a clue that they were essentially made by using the script contents. The great majority of the versions are long duration performances (>10 min) on which it is presented a five-section structure that each correlated sonority are specific and contrasting between themselves, each one representing a keyword contained in the script and also having a repetition of this whole five-section cycle for four times in a decreasing overall duration of each one. By identifying and understanding the role of the stimulus, it was also possible to discuss specific matters regarding the montages, whose data could be seen as a reflection of the context in which each one of the montages were inserted at the moment(s) that the versions was developed/played. |
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A relação entre estímulo partitural e resultado sonoro no script “Quatre Fois” de Didier GuigueMorfologia musicalQuatre FoisPerformanceText compositionMusical morphologyCNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICAThis work of research has as its main objective to comprehend the piece Quatre Fois in a paradigm that considers the performance (and its implications) as fundamental. Its score (here seen as a script) can’t be read in solfeggio style, so it can’t have a directly tone output. That – at least at the beginning – is the reason for us to consider the performance-bound analytical approach as a viable solution. Therefore we are using the idea of Musical Morphology from Fiel da Costa (2016; 2017; 2018). Through this logic, we now see the script Quatre Fois as a stimulus which is animated by the performance process, that relation generates, then, an effect which its recurrence generates a morphological nexus, meaning that as a result of artistic nature, specially sonic. Analytically, all of those objects accrues from the performance process and their interactions are considered spots for analysis. Regarding our case, Quatre Fois, it was possible to study all the versions that were made and that we have notice of, from the year 1980 to 2018. The montages were made by 5 groups/individuals: the very composer of the piece, Didier Guigue (DG); the group whypatterns_ (WP); Valério Fiel da Costa and Matteo Ciacchi on the collective Artesanato Furioso (AF); and the American bassist Daniel Barbiero (DB). Using specific methodological tools, we could see from the montages of these groups the general morphology from the piece as an object of complex sonority, often noisy. The script ‘diverges to itself’ performance actions of which their formal schemes could give us a clue that they were essentially made by using the script contents. The great majority of the versions are long duration performances (>10 min) on which it is presented a five-section structure that each correlated sonority are specific and contrasting between themselves, each one representing a keyword contained in the script and also having a repetition of this whole five-section cycle for four times in a decreasing overall duration of each one. By identifying and understanding the role of the stimulus, it was also possible to discuss specific matters regarding the montages, whose data could be seen as a reflection of the context in which each one of the montages were inserted at the moment(s) that the versions was developed/played.Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESO presente trabalho tem por objetivo compreender a peça Quatre Fois dentro de um paradigma que considere a performance (e suas implicações) como fundamental. A sua partitura (aqui visto enquanto script) não possui um resultado sonoro derivado diretamente (solfejável) do seu conteúdo. Isto, ao menos de forma preliminar, seria a razão de considerarmos tal abordagem analítica vinculada à performance como uma saída viável. Para tanto, utilizamos da ideia de Morfologia Musical de Valério Fiel da Costa (2016; 2017; 2018). Nessa lógica, vemos o script Quatre Fois enquanto um estímulo que é animado a partir do processo performático, e com isso gerando um efeito. A recorrência desse efeito seria geraria um nexo morfológico, isto é, um resultado de natureza artística, sobretudo sonora. Analiticamente, todos esses objetos são decorrências do processo performático e, as interações entre eles são consideradas pontos para análise. No caso de Quatre Fois, foi possível estudar todas as versões de que temos ciência de que foram realizadas, do ano de 1980 até 2018, por montagens feitas por 5 grupos/indivíduos: a do próprio autor Didier Guigue (DG); a do grupo whypatterns_ (WP); a montagem de Valério Fiel da Costa e Matteo Ciacchi com o coletivo Artesanato Furioso (AF); e a do contrabaixista americano Daniel Barbiero (DB). Com ferramentas metodológicas específicas, pudemos enxergar, a partir das montagens desses grupos (DG, WP, AF e DB) a morfologia geral da obra enquanto um objeto de sonoridade complexa, muitas vezes ruidística. O script ‘desvia para si’ ações performáticas cujos esquemas formais nos dão referência de que foram essencialmente montadas a partir conteúdo do script. A grande maioria das versões seguem performances de longa duração (<10 min) com uma estrutura de cinco seções das quais as sonoridades costumam ser específicas e contrastantes entre elas, cada qual representando às palavras-chave contidas no script e cujo ciclo se repete em durações mais curtas. Entendendo e identificando a ação do estímulo, foi possível também discutir questões específicas das montagens cujos dados podem ser vistos como um reflexo sobre o contexto em que cada qual estava inserida no(s) momento(s) que montaram/tocaram suas versões.Universidade Federal da ParaíbaBrasilMúsicaPrograma de Pós-Graduação em MúsicaUFPBCosta, Valério Fiel dahttp://lattes.cnpq.br/5177466124567380Brito, Luã Nóbrega de2021-12-15T15:17:14Z2021-07-072021-12-15T15:17:14Z2019-07-31info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesishttps://repositorio.ufpb.br/jspui/handle/123456789/21612porAttribution-NoDerivs 3.0 Brazilhttp://creativecommons.org/licenses/by-nd/3.0/br/info:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da UFPBinstname:Universidade Federal da Paraíba (UFPB)instacron:UFPB2022-08-09T16:28:26Zoai:repositorio.ufpb.br:123456789/21612Biblioteca Digital de Teses e Dissertaçõeshttps://repositorio.ufpb.br/PUBhttp://tede.biblioteca.ufpb.br:8080/oai/requestdiretoria@ufpb.br|| diretoria@ufpb.bropendoar:2022-08-09T16:28:26Biblioteca Digital de Teses e Dissertações da UFPB - Universidade Federal da Paraíba (UFPB)false |
dc.title.none.fl_str_mv |
A relação entre estímulo partitural e resultado sonoro no script “Quatre Fois” de Didier Guigue |
title |
A relação entre estímulo partitural e resultado sonoro no script “Quatre Fois” de Didier Guigue |
spellingShingle |
A relação entre estímulo partitural e resultado sonoro no script “Quatre Fois” de Didier Guigue Brito, Luã Nóbrega de Morfologia musical Quatre Fois Performance Text composition Musical morphology CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA |
title_short |
A relação entre estímulo partitural e resultado sonoro no script “Quatre Fois” de Didier Guigue |
title_full |
A relação entre estímulo partitural e resultado sonoro no script “Quatre Fois” de Didier Guigue |
title_fullStr |
A relação entre estímulo partitural e resultado sonoro no script “Quatre Fois” de Didier Guigue |
title_full_unstemmed |
A relação entre estímulo partitural e resultado sonoro no script “Quatre Fois” de Didier Guigue |
title_sort |
A relação entre estímulo partitural e resultado sonoro no script “Quatre Fois” de Didier Guigue |
author |
Brito, Luã Nóbrega de |
author_facet |
Brito, Luã Nóbrega de |
author_role |
author |
dc.contributor.none.fl_str_mv |
Costa, Valério Fiel da http://lattes.cnpq.br/5177466124567380 |
dc.contributor.author.fl_str_mv |
Brito, Luã Nóbrega de |
dc.subject.por.fl_str_mv |
Morfologia musical Quatre Fois Performance Text composition Musical morphology CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA |
topic |
Morfologia musical Quatre Fois Performance Text composition Musical morphology CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA |
description |
This work of research has as its main objective to comprehend the piece Quatre Fois in a paradigm that considers the performance (and its implications) as fundamental. Its score (here seen as a script) can’t be read in solfeggio style, so it can’t have a directly tone output. That – at least at the beginning – is the reason for us to consider the performance-bound analytical approach as a viable solution. Therefore we are using the idea of Musical Morphology from Fiel da Costa (2016; 2017; 2018). Through this logic, we now see the script Quatre Fois as a stimulus which is animated by the performance process, that relation generates, then, an effect which its recurrence generates a morphological nexus, meaning that as a result of artistic nature, specially sonic. Analytically, all of those objects accrues from the performance process and their interactions are considered spots for analysis. Regarding our case, Quatre Fois, it was possible to study all the versions that were made and that we have notice of, from the year 1980 to 2018. The montages were made by 5 groups/individuals: the very composer of the piece, Didier Guigue (DG); the group whypatterns_ (WP); Valério Fiel da Costa and Matteo Ciacchi on the collective Artesanato Furioso (AF); and the American bassist Daniel Barbiero (DB). Using specific methodological tools, we could see from the montages of these groups the general morphology from the piece as an object of complex sonority, often noisy. The script ‘diverges to itself’ performance actions of which their formal schemes could give us a clue that they were essentially made by using the script contents. The great majority of the versions are long duration performances (>10 min) on which it is presented a five-section structure that each correlated sonority are specific and contrasting between themselves, each one representing a keyword contained in the script and also having a repetition of this whole five-section cycle for four times in a decreasing overall duration of each one. By identifying and understanding the role of the stimulus, it was also possible to discuss specific matters regarding the montages, whose data could be seen as a reflection of the context in which each one of the montages were inserted at the moment(s) that the versions was developed/played. |
publishDate |
2019 |
dc.date.none.fl_str_mv |
2019-07-31 2021-12-15T15:17:14Z 2021-07-07 2021-12-15T15:17:14Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/masterThesis |
format |
masterThesis |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://repositorio.ufpb.br/jspui/handle/123456789/21612 |
url |
https://repositorio.ufpb.br/jspui/handle/123456789/21612 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.rights.driver.fl_str_mv |
Attribution-NoDerivs 3.0 Brazil http://creativecommons.org/licenses/by-nd/3.0/br/ info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Attribution-NoDerivs 3.0 Brazil http://creativecommons.org/licenses/by-nd/3.0/br/ |
eu_rights_str_mv |
openAccess |
dc.publisher.none.fl_str_mv |
Universidade Federal da Paraíba Brasil Música Programa de Pós-Graduação em Música UFPB |
publisher.none.fl_str_mv |
Universidade Federal da Paraíba Brasil Música Programa de Pós-Graduação em Música UFPB |
dc.source.none.fl_str_mv |
reponame:Biblioteca Digital de Teses e Dissertações da UFPB instname:Universidade Federal da Paraíba (UFPB) instacron:UFPB |
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Universidade Federal da Paraíba (UFPB) |
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UFPB |
institution |
UFPB |
reponame_str |
Biblioteca Digital de Teses e Dissertações da UFPB |
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Biblioteca Digital de Teses e Dissertações da UFPB |
repository.name.fl_str_mv |
Biblioteca Digital de Teses e Dissertações da UFPB - Universidade Federal da Paraíba (UFPB) |
repository.mail.fl_str_mv |
diretoria@ufpb.br|| diretoria@ufpb.br |
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1801842985924558848 |