O Haute-Contre na Ópera: Uma análise da sonoridade vocal a partir das personagens Persée de Jean-Baptiste Lully (1632-1687) e Platée de Jean-Phillipe Rameau (1683-1764)

Detalhes bibliográficos
Autor(a) principal: Oliveira, Wenderson Silva
Data de Publicação: 2017
Tipo de documento: Dissertação
Idioma: por
Título da fonte: Repositório Institucional da UFU
Texto Completo: https://repositorio.ufu.br/handle/123456789/20998
http://dx.doi.org/10.14393/ufu.di.2018.95
Resumo: The French opera maintains characteristics that distinguish it from the other European stage manifestations. With eyes focused on the dramatic musical practice between the 17th and 18th centuries, this work has as main objective to discuss one of the strongest and traditional peculiarities of baroque opera: the haute-contre voice. We understand and circumscribe haute-contre as a type of vocal classification, quality of tenor voice, which has as its main characteristics the naturally light and high voice. This type of tenor was quite common in French sacred compositions from the sixteenth century and the opera between the seventeenth and eighteenth centuries, occupying a prominent place in the main male roles. For this discussion, a musical analysis of the recitatives and arias of the title characters of the operas Persée of Jean-Baptiste Lully (1632-1687) composed in 1682 and Platée of Jean-Phillipe Rameau (1683-1764) composed in 1745 is made. In the two compositions, the following aspects are observed: vocal extension and texture of the selected characters and the musical texture. It is called a musical texture the set of my perceptions that intertwine with the relationship between text and music, ornamentation, compass formulas, instruments used in the orchestra, connecting them to the extent and texture. These analyzes depart from the fac-similar version of the original scores. The main objective of this research, therefore, is to infer from this vocal quality of the tenor, the sonority of these voices and their qualities. It is understood in this study that the use of this voice, specifically as a highlight in the productions, was a direct reaction to the castrato voice, very popular in the stages of the independent states of the territory that currently constitutes Italy. The tenor haute-contre was a construction as a reaction to an aesthetic dispute that did not begin in the eighteenth century, but at the beginning of it becomes more visible, precisely because we believe that France was projected in a movement of distinction in relation to others European music centers (Germany, England and Italy).
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spelling O Haute-Contre na Ópera: Uma análise da sonoridade vocal a partir das personagens Persée de Jean-Baptiste Lully (1632-1687) e Platée de Jean-Phillipe Rameau (1683-1764)The Haute-Contre in the Opera: An analysis of vocal sonority from the characters Persée by Jean-Baptiste Lully (1632-1687) and Platée by Jean-Phillipe Rameau (1683-1764)Haute-contreHaute-contre voiceÓpera barrocaBaroque operaÓpera francesaFrench operaCanto eruditoLyrical vocal musicCNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICAThe French opera maintains characteristics that distinguish it from the other European stage manifestations. With eyes focused on the dramatic musical practice between the 17th and 18th centuries, this work has as main objective to discuss one of the strongest and traditional peculiarities of baroque opera: the haute-contre voice. We understand and circumscribe haute-contre as a type of vocal classification, quality of tenor voice, which has as its main characteristics the naturally light and high voice. This type of tenor was quite common in French sacred compositions from the sixteenth century and the opera between the seventeenth and eighteenth centuries, occupying a prominent place in the main male roles. For this discussion, a musical analysis of the recitatives and arias of the title characters of the operas Persée of Jean-Baptiste Lully (1632-1687) composed in 1682 and Platée of Jean-Phillipe Rameau (1683-1764) composed in 1745 is made. In the two compositions, the following aspects are observed: vocal extension and texture of the selected characters and the musical texture. It is called a musical texture the set of my perceptions that intertwine with the relationship between text and music, ornamentation, compass formulas, instruments used in the orchestra, connecting them to the extent and texture. These analyzes depart from the fac-similar version of the original scores. The main objective of this research, therefore, is to infer from this vocal quality of the tenor, the sonority of these voices and their qualities. It is understood in this study that the use of this voice, specifically as a highlight in the productions, was a direct reaction to the castrato voice, very popular in the stages of the independent states of the territory that currently constitutes Italy. The tenor haute-contre was a construction as a reaction to an aesthetic dispute that did not begin in the eighteenth century, but at the beginning of it becomes more visible, precisely because we believe that France was projected in a movement of distinction in relation to others European music centers (Germany, England and Italy).FAPEMIG - Fundação de Amparo a Pesquisa do Estado de Minas GeraisDissertação (Mestrado)A ópera francesa guarda consigo características que a distinguem das demais manifestações cênicas europeias. Com olhos voltados à prática musical dramática entre os séculos XVII e XVIII, este trabalho tem como objetivo principal discorrer sobre uma das mais fortes e tradicionais particularidades da ópera barroca: a voz haute-contre. Entendemos e circunscrevemos o haute-contre como um tipo de classificação vocal, qualidade da voz de tenor, que tem como características principais a voz naturalmente leve e aguda. Esse tipo de tenor foi bastante comum nas composições sacras francesas desde o século XVI e na ópera entre séculos XVII e XVIII, ocupando lugar de destaque nos papeis masculinos principais. Para essa discussão, faz-se uma análise musical dos recitativos e árias das personagens-título das óperas Persée de Jean-Baptiste Lully (1632-1687) composta em 1682 e Platée de Jean-Phillipe Rameau (1683-1764) composta em 1745. Nas duas composições, observa-se os seguintes aspectos: extensão vocal e tessitura das personagens selecionadas e a textura musical. Chama-se de textura musical o conjunto de minhas percepções que se entrelaçam com a relação entre texto e música, ornamentação, fórmulas de compasso, instrumentos utilizados na orquestra, ligando-os à extensão e tessitura. Essas análises partem da versão fac-similar das partituras originais. O objetivo principal desta pesquisa, portanto, é inferir, a partir dessa qualidade vocal do tenor, a sonoridade dessas vozes e suas qualidades. Entende-se nesse estudo que a utilização dessa voz, especificamente como destaque nas produções, era uma reação direta à voz do castrato, muito popular nos palcos dos estados independentes do território que atualmente constitui a Itália. A voz de tenor haute-contre foi uma construção como reação a uma disputa estética que não se inicia no século XVIII, mas no início dele se torna mais visível, justamente por acreditarmos que a França projetava-se num movimento de distinção em relação aos outros centros musicais europeus (Alemanha, Inglaterra e Itália).Universidade Federal de UberlândiaBrasilPrograma de Pós-graduação em ArtesCarvalho, Flávio Cardoso dehttp://lattes.cnpq.br/8471523315605611Pimenta, Josani Keuneckehttp://lattes.cnpq.br/3892516651330570Orosco, Maurício Tadeuhttp://lattes.cnpq.br/3268304397002139Oliveira, Wenderson Silva2018-03-27T18:40:49Z2018-03-27T18:40:49Z2017-11-29info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisapplication/pdfOLIVEIRA, Wenderson Silva. O Haute-Contre na Ópera: Uma análise da sonoridade vocal a partir das personagens Persée de Jean-Baptiste Lully (1632-1687) e Platée de Jean-Phillipe Rameau (1683-1764). 2017. 264 f. Dissertação (Mestrado em Música) - Universidade Federal de Uberlândia, Uberlândia, 2017.https://repositorio.ufu.br/handle/123456789/20998http://dx.doi.org/10.14393/ufu.di.2018.95porinfo:eu-repo/semantics/openAccessreponame:Repositório Institucional da UFUinstname:Universidade Federal de Uberlândia (UFU)instacron:UFU2020-03-02T13:34:43Zoai:repositorio.ufu.br:123456789/20998Repositório InstitucionalONGhttp://repositorio.ufu.br/oai/requestdiinf@dirbi.ufu.bropendoar:2020-03-02T13:34:43Repositório Institucional da UFU - Universidade Federal de Uberlândia (UFU)false
dc.title.none.fl_str_mv O Haute-Contre na Ópera: Uma análise da sonoridade vocal a partir das personagens Persée de Jean-Baptiste Lully (1632-1687) e Platée de Jean-Phillipe Rameau (1683-1764)
The Haute-Contre in the Opera: An analysis of vocal sonority from the characters Persée by Jean-Baptiste Lully (1632-1687) and Platée by Jean-Phillipe Rameau (1683-1764)
title O Haute-Contre na Ópera: Uma análise da sonoridade vocal a partir das personagens Persée de Jean-Baptiste Lully (1632-1687) e Platée de Jean-Phillipe Rameau (1683-1764)
spellingShingle O Haute-Contre na Ópera: Uma análise da sonoridade vocal a partir das personagens Persée de Jean-Baptiste Lully (1632-1687) e Platée de Jean-Phillipe Rameau (1683-1764)
Oliveira, Wenderson Silva
Haute-contre
Haute-contre voice
Ópera barroca
Baroque opera
Ópera francesa
French opera
Canto erudito
Lyrical vocal music
CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA
title_short O Haute-Contre na Ópera: Uma análise da sonoridade vocal a partir das personagens Persée de Jean-Baptiste Lully (1632-1687) e Platée de Jean-Phillipe Rameau (1683-1764)
title_full O Haute-Contre na Ópera: Uma análise da sonoridade vocal a partir das personagens Persée de Jean-Baptiste Lully (1632-1687) e Platée de Jean-Phillipe Rameau (1683-1764)
title_fullStr O Haute-Contre na Ópera: Uma análise da sonoridade vocal a partir das personagens Persée de Jean-Baptiste Lully (1632-1687) e Platée de Jean-Phillipe Rameau (1683-1764)
title_full_unstemmed O Haute-Contre na Ópera: Uma análise da sonoridade vocal a partir das personagens Persée de Jean-Baptiste Lully (1632-1687) e Platée de Jean-Phillipe Rameau (1683-1764)
title_sort O Haute-Contre na Ópera: Uma análise da sonoridade vocal a partir das personagens Persée de Jean-Baptiste Lully (1632-1687) e Platée de Jean-Phillipe Rameau (1683-1764)
author Oliveira, Wenderson Silva
author_facet Oliveira, Wenderson Silva
author_role author
dc.contributor.none.fl_str_mv Carvalho, Flávio Cardoso de
http://lattes.cnpq.br/8471523315605611
Pimenta, Josani Keunecke
http://lattes.cnpq.br/3892516651330570
Orosco, Maurício Tadeu
http://lattes.cnpq.br/3268304397002139
dc.contributor.author.fl_str_mv Oliveira, Wenderson Silva
dc.subject.por.fl_str_mv Haute-contre
Haute-contre voice
Ópera barroca
Baroque opera
Ópera francesa
French opera
Canto erudito
Lyrical vocal music
CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA
topic Haute-contre
Haute-contre voice
Ópera barroca
Baroque opera
Ópera francesa
French opera
Canto erudito
Lyrical vocal music
CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA
description The French opera maintains characteristics that distinguish it from the other European stage manifestations. With eyes focused on the dramatic musical practice between the 17th and 18th centuries, this work has as main objective to discuss one of the strongest and traditional peculiarities of baroque opera: the haute-contre voice. We understand and circumscribe haute-contre as a type of vocal classification, quality of tenor voice, which has as its main characteristics the naturally light and high voice. This type of tenor was quite common in French sacred compositions from the sixteenth century and the opera between the seventeenth and eighteenth centuries, occupying a prominent place in the main male roles. For this discussion, a musical analysis of the recitatives and arias of the title characters of the operas Persée of Jean-Baptiste Lully (1632-1687) composed in 1682 and Platée of Jean-Phillipe Rameau (1683-1764) composed in 1745 is made. In the two compositions, the following aspects are observed: vocal extension and texture of the selected characters and the musical texture. It is called a musical texture the set of my perceptions that intertwine with the relationship between text and music, ornamentation, compass formulas, instruments used in the orchestra, connecting them to the extent and texture. These analyzes depart from the fac-similar version of the original scores. The main objective of this research, therefore, is to infer from this vocal quality of the tenor, the sonority of these voices and their qualities. It is understood in this study that the use of this voice, specifically as a highlight in the productions, was a direct reaction to the castrato voice, very popular in the stages of the independent states of the territory that currently constitutes Italy. The tenor haute-contre was a construction as a reaction to an aesthetic dispute that did not begin in the eighteenth century, but at the beginning of it becomes more visible, precisely because we believe that France was projected in a movement of distinction in relation to others European music centers (Germany, England and Italy).
publishDate 2017
dc.date.none.fl_str_mv 2017-11-29
2018-03-27T18:40:49Z
2018-03-27T18:40:49Z
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 OLIVEIRA, Wenderson Silva. O Haute-Contre na Ópera: Uma análise da sonoridade vocal a partir das personagens Persée de Jean-Baptiste Lully (1632-1687) e Platée de Jean-Phillipe Rameau (1683-1764). 2017. 264 f. Dissertação (Mestrado em Música) - Universidade Federal de Uberlândia, Uberlândia, 2017.
https://repositorio.ufu.br/handle/123456789/20998
http://dx.doi.org/10.14393/ufu.di.2018.95
identifier_str_mv OLIVEIRA, Wenderson Silva. O Haute-Contre na Ópera: Uma análise da sonoridade vocal a partir das personagens Persée de Jean-Baptiste Lully (1632-1687) e Platée de Jean-Phillipe Rameau (1683-1764). 2017. 264 f. Dissertação (Mestrado em Música) - Universidade Federal de Uberlândia, Uberlândia, 2017.
url https://repositorio.ufu.br/handle/123456789/20998
http://dx.doi.org/10.14393/ufu.di.2018.95
dc.language.iso.fl_str_mv por
language por
dc.rights.driver.fl_str_mv info:eu-repo/semantics/openAccess
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade Federal de Uberlândia
Brasil
Programa de Pós-graduação em Artes
publisher.none.fl_str_mv Universidade Federal de Uberlândia
Brasil
Programa de Pós-graduação em Artes
dc.source.none.fl_str_mv reponame:Repositório Institucional da UFU
instname:Universidade Federal de Uberlândia (UFU)
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instname_str Universidade Federal de Uberlândia (UFU)
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institution UFU
reponame_str Repositório Institucional da UFU
collection Repositório Institucional da UFU
repository.name.fl_str_mv Repositório Institucional da UFU - Universidade Federal de Uberlândia (UFU)
repository.mail.fl_str_mv diinf@dirbi.ufu.br
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