Estruturações melódico-harmônicas nos 50 Ponteios de Camargo Guarnieri

• Autor(a) principal: Pereira, Gesiel Vilarubia [UNESP]
• Data de Publicação: 2017
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Institucional da UNESP
• Texto Completo: http://hdl.handle.net/11449/151366
• topic: Melodic-harmonic analysis; Camargo Guarnieri; Ponteios; Análises melódico-harmônicas

The aim of this work is to study the 50 Piano Ponteios of Camargo Guarnieri, focusing on the analysis of their melodic and harmonic structures, seeking to understand the structural aspects of the composer's poetics in this cycle of pieces. We initially examine the transformations incurred by Guarnieri's melodic-harmonic writing in the period that this collection was composed, and a produce a historical-stylistic contextualization. This contextualization focuses on the Brazilan nationalism which was influenced by Brazilian philosopher and critic Mário de Andrade, and Guarnieri’s experiences with different harmonic languages. In preparation for the analysis, a textural classification of the 50 Ponteios is performed, as well as a verification of some formal consistencies within this collection. The dissertation is also directed to the examination of the choices of the materials present in the construction of the melodies and harmonies, and extends to the observation of the compositional procedures characteristic of Guarnieri – in other words, his poetics. From this analytical investigation we can observe, in the Ponteios and in other works by this composer, the recurrence of a melodic motif which we call The Guarnieri Motive. In terms of harmony, we are struck by the recurrence of a specific symmetrical harmonic structure, used as dominant function in cadential moments. We may also verify the care the composer took to use symmetrical structures in scalar, harmonic and formal contexts. Whenever possible, the analysis was permeated by dialogues established with researchers on Guarnieri’s work, and by the observation of the relationship between Guarnieri’s compositional decisions and his aesthetic opinion, as influenced directly by the book Ensaio sobre a música brasileira by Mário de Andrade.