Full text
| |
| Author(s): |
Francisco Zmekhol Nascimento de Oliveira
Total Authors: 1
|
| Document type: | Master's Dissertation |
| Press: | Campinas, SP. |
| Institution: | Universidade Estadual de Campinas (UNICAMP). Instituto de Artes |
| Defense date: | 2013-12-20 |
| Examining board members: |
Silvio Ferraz de Mello Filho;
Tadeu Moraes Taffarello;
Adriana Lopes da Cunha Moreira
|
| Advisor: | Silvio Ferraz de Mello Filho |
| Abstract | |
This dissertation aims at observing, in the singular contexts of different pieces by Olivier Messiaen (1908-1992), the specific employment of his technical repertoire concerning the rhythmical domain and the articulation of such repertoire with other compositional aspects of the pieces studied (e. g. pitch management and formal constitution). Having taken as a base the diversity of materials, procedures and concepts exposed and discussed in Messiaen's theoretical work, analysis of the following of his works are here presented: "Danse de la fureur, pour les sept trompettes" and "Liturgie de cristal" (1941); Neumes rythmiques (1949); "Yamanaka-cadenza" (1962) and La Fauvette des jardins (1970). By the end of this dissertation, we will have verified that Messiaen employs his technical repertoire concerning the rhythmical domain in a highly contextual manner, in such a way that compositional decisions which were unforeseen in his procedures and not always immediately related to the rhythmic domain are crucial to the rhythmical results obtained by the composer (AU) | |
| FAPESP's process: | 11/16714-7 - Olivier Messiaen's rhythmic writing and it's deployments on other aspects of his compositional practice |
| Grantee: | Francisco Zmekhol Nascimento de Oliveira |
| Support Opportunities: | Scholarships in Brazil - Master |