Full text
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| Author(s): |
Max Packer
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: | 2013-12-20 |
| Examining board members: |
Silvio Ferraz de Mello Filho;
Denise Hortencia Lopes Garcia;
Maurício Funcia de Bonis
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| Advisor: | Silvio Ferraz de Mello Filho |
| Abstract | |
This work consists on a step of a study devoted to the compositional thinking of Luciano Berio (1925-2003) and to the ways in which this thought articulates the problem of the intrinsic openness of musical language. Given the uniqueness and the wide range of the concept of openness in Berio's thought - which contrasts with other conceptions and converges in the creative revisitation of previously constructed musical discourses -, it is proposed here the analytic investigation of a collection of works from various periods of his trajectory. The notions of latency and resonance - considered in an amplitude that pervades Berio's poetics and manifests itself on different levels of its development - outline a path: the construction of statements loaded with potentials which are not yet fully developed (latency), the expansion and continuation of selected structural aspects (resonance), and the unrolling of their relations within the compositional process - whether in the course of a same work, whether in the process of a new composition which reconfigures such potentials - (openness). Throughout this work, we approach the following works: Sequenza VII (1969); Erdenklavier (1969); Linea (1973); Chemins IV (1975); Sequenza IX (1980); Lied (1983); Ricorrenze (1985-87); Psy (1989); Leaf (1990); Récit [Chemins VII] (1996-2001) (AU) | |
| FAPESP's process: | 11/15376-0 - Latency, resonance, oppeness: a study on Luciano Berio´s compositional thought |
| Grantee: | Max Packer |
| Support Opportunities: | Scholarships in Brazil - Master |