José Siqueira e a "Suíte Sertaneja para violoncelo e piano" sob a ótica tripartite

• Autor(a) principal: Vieira, Josélia Ramalho
• Data de Publicação: 2016
• 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/123456789/13868
• topic: José de Lima Siqueira; Suite Sertaneja para Violoncelo e Piano; Análise semiológica; Compositor paraibano; Crítica e interpretação; Suíte sertaneja — análise semiológica tripartite; Suite sertaneja — tripartite semiological analyse; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA

This master's degree dissertation in music, area of interpretative practices, searches for the comprehension of the man and his work, with emphasis on the former, under a qualitative perspective. It is an analytic study whose focus is on the Paraibano composer Jose de Lima Siqueira (1907-1985) with his Suite Sertaneja para violoncelo e piano composed 1949. The analysis has a theoretical-empirical basis, for it has a theoretical support the tripartite model proposed by Molino and developed by Jean-Jacques Nattiez that, once, presupposes the appli-cation of interviews to listeners, that is, the gathering of primary data, being configuredd in an empirical research within the field work. Jose de Lima Siqueira — born in Conceicao, state of Paraiba, and died in Rio de Janeiro with 78 years old - was one of the exponents in the defense of the national classical music with political-social performance of his time. The second chapter deals with the historical-socio context in the composer's upbringing, reinforcing existent data and rebuilding pieces of information obtained from his own family, such as the new data from the visit to the family's collection. From the six levels of possible configurations of the tripartite model, the immanent level was taken into account in that analysis, as well as the inductive poietic and the external esthesic, through a triple look toward the work. The elements of the oral tradition present in the immanent level and the inquiry of the trimodal system use also had as a base Siqueira's compositional conduct in works from the same period. The analysis of the external esthetic level was based on applied questionnaires to listeners. The re-sults of the different levels of that analysis served as a base for the interpretative considerations in the final part of the dissertation.