Full text
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| Author(s): |
Igor Leão Maia
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: | 2013-10-07 |
| Examining board members: |
Silvio Ferraz de Mello Filho;
Jônatas Manzolli;
Adriana Lopes da Cunha Moreira
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| Advisor: | Silvio Ferraz de Mello Filho |
| Abstract | |
This dissertation aimed to study the model of organization of timbres, Klangfarbenmelodie, proposed by the German composer Arnold Schoenberg in 1911 upon the publication of his book Harmonielehre and apply freely some results of this study of timbre organization in music composition. We begin by studying the guiding principles of this idea and briefly expose the scientific model known at the time for the study of timbre, presented by Hermann von Helmholtz in 1863. We also examine the idea of Klangfarbenmelodie through Schoeberg's own writings and other authors, contextualizing the research from a scientific and historical point of view. Then we analyze the work Farben op. 16 no. 3, also by Arnold Schoenberg, with respect to its orchestration and formal organization, using an analytical approach based on set theory. In the last chapter we analyze the compositions of authorship in the light of the assumptions brought by the analytical aspect of the research (AU) | |
| FAPESP's process: | 11/16715-3 - Formal model of timbre organization for analysis and music composition |
| Grantee: | Igor Leão Maia |
| Support Opportunities: | Scholarships in Brazil - Master |