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| Author(s): |
Lucas Zangirolami Bonetti
Total Authors: 1
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| Document type: | Master's Dissertation |
| Press: | Campinas, SP. |
| Institution: | Universidade Estadual de Campinas (UNICAMP). Instituto de Artes |
| Defense date: | 2014-10-03 |
| Examining board members: |
Claudiney Rodrigues Carrasco;
Paulo José de Siqueira Tiné;
Andrea Ernest Dias
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| Advisor: | Claudiney Rodrigues Carrasco |
| Abstract | |
This project aims to discuss the compositional processes used by Moacir Santos (1926-2006) in the conception of his work from the various film scorings that he composed, mostly in the sixties. Santos devoted much of his time composing and producing film scorings, and these productions are his first major impact works launched in Brazil, the following films will be analyzed under those compositional aspects: Seara Vermelha (1964), by Alberto d'Aversa (1920-1969); O Santo Módico (1964), by Sacha Gordine (1910-1968) and Robert Mazoyer (1929-1999); Ganga Zumba (1964) and A Grande Cidade, by Carlos Diegues (1940-); Os Fuzis (1964), by Ruy Guerra (1931-); and O Beijo (1964) by Flávio Tambellini (1925-1976). These scores show an entire aesthetic direction followed by Moacir throughout his career, and the countless themes and melodies "born" at this time and that would appear in most of his instrumental music and songs released after that. Thus, we can understand better the full scope of his compositional work, studying and realizing how the imagetic references assimilated in the films reflected his compositional process (AU) | |
| FAPESP's process: | 12/11195-4 - The film scoring as genesis of the creative process in the work of Moacir Santos |
| Grantee: | Lucas Zangirolami Bonetti |
| Support Opportunities: | Scholarships in Brazil - Master |