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| Author(s): |
Alexy Gaione Viegas de Araujo
Total Authors: 1
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| Document type: | Doctoral Thesis |
| Press: | São Paulo. |
| Institution: | Universidade de São Paulo (USP). Escola de Comunicações e Artes (ECA/SBD) |
| Defense date: | 2017-04-07 |
| Examining board members: |
Adriana Lopes da Cunha Moreira;
Rogério Luiz Moraes Costa;
Monica Isabel Lucas;
Marcos Fernandes Pupo Nogueira;
Maria Lucia Senna Machado Pascoal
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| Advisor: | Adriana Lopes da Cunha Moreira |
| Abstract | |
Considering Stravinsky\'s American popular music inflected works (including Ragtime for Eleven Instruments, Preludium for Jazz Ensemble, Tango and Ebony Concerto), the present thesis aims to investigate identity processes through which Stravinsky was possibly challenged by the popular as a starting point for occasional modernist aesthetic possibilities. It also explores hypertextual theory topics as proposed by Genette (1982), in order to examine issues related to hypertextual transpositions in Stravinsky\'s ragtime borrowings. Finally, it carries out a review of theoretical trends relevant aspects, concearning pitch relations (SCHENKER, 1906, 1910, 1922, 1935 and LERDAHL, 2001); texture, density and musical movement (BERRY, 1987); repetition (FERRAZ, 1998); ordered succession (HORLACHER, 2011); and projective potentiality (HASTY, 1997), with the purpose of ascertaining traces of the articulation of these issues into Stravinsky\'s compositional processes. The results obtained by this work point out that the popular borrowings articulated by hypertextual transpositions act as a starting point for the creation of new works, which are structured through multiple pitch centers, levels of the basic space, simultaneous blocks and parallelism. (AU) | |
| FAPESP's process: | 13/12869-1 - The presence of musical genres ragtime, jazz and tango in compositional processes of Igor Stravinsky |
| Grantee: | Alexy Gaione Viegas de Araújo |
| Support Opportunities: | Scholarships in Brazil - Doctorate |