Uma análise das relações entre a manipulação temporal e estrutura musical em um excerto do segundo movimento da Sonata K. 330 DE Mozart em gravações de seis pianistas

• Autor(a) principal: Sakamoto, Rafael dos Santos
• Data de Publicação: 2018
• 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/123456789/13090
• topic: Manipulação temporal; Estrutura; Piano; Mozart; Análise; Timing; Structure; Analysis; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA

This research conducts an analysis of the relation between timing and musical structure of six recorded performances of an excerpt of the second movement of Mozart’s Sonata K. 330. Recordings by Ingrid Haebler, Clara Haskil, Lili Kraus, Alicia de Larrocha, Maria João Pires and Mitsuko Uchida, important interpreters of this repertoire, were chosen. We investigated a concept proposed by Palmer (1989) that suggests the interpreters define the boundaries of structural elements by means of punctual timing deviations that define the endings of structural elements. A structural analysis of the excerpt, using Caplin’s (1998) concept, was taken as reference of structural segmentation for the analysis. The data extracted from the recordings correspond to the inter-onset intervals (IOI) of selected notes in the excerpt, normalized to the values noted in the score and relative to the mean tempo of the performance. The performances were compared to each other to verify if these differences produced by diverse ways of reading the structure. To do so, we used a mathematical procedure, the Principal Components Analysis (PCA) to point out time instants (notes) in which the performances differ from each other. We found that the performances in this sample are distinguished by two timing manipulation trends. It was found that only Kraus’ timing actions were more related to the structure revealed by the analysis. Although the timing profiles have many similar characteristics to Kraus’, the deviations found in the other pianists’ performances don’t seem to have the objective of defining structural elements, as proposed by Palmer (1989). Rather, they seem to emphasize other elements, like dissonances, harmonic tensions or high melodic points.