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Master's Dissertation
DOI
10.11606/D.27.2011.tde-13032013-144714
Document
Author
Full name
Vanessa Rodrigues Nonis
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2011
Supervisor
Committee
Shimabuco, Luciana Sayure (President)
Barreiro, Daniel Luis
Salles, Paulo de Tarso Camargo Cambraia
Title in Portuguese
Os modelos cromáticos do teufelsmühle e omnibus na música de F. Chopin
Keywords in Portuguese
Chopin
cromatismo
omnibus
polifonia
reinterpretação enarmônica
Teufelsmühle
Abstract in Portuguese
Teufelsmühle e omnibus são nomenclaturas empregadas para designar modelos estruturais profundamente aparentados, que envolvem cromatismo, polifonia, modulação, relação de terças menores, inversão simétrica, condução de vozes e reinterpretações enarmônicas de acordes. Trata-se de padrões cujas origens remontam no mínimo à prática musical do século XVIII e que já nesta época começaram a ser codificados por teóricos. No entanto, estas sequências cromáticas só receberam estudos específicos a partir do final da década de 1960 por duas principais correntes de pesquisa, a alemã, que emprega o termo Teufelsmühle e a americana, com a designação omnibus. Dividido em duas partes, este trabalho expõe inicialmente os aspectos estruturais do Teufelsmühle e omnibus, a partir de uma revisão bibliográfica e apontamentos críticos realizados por esta pesquisa. Já a segunda parte busca vislumbrar a representatividade e abrangência destes modelos cromáticos no processo composicional de F. Chopin, evidenciando o modo com que tal princípio foi utilizado e os principais contextos em que está inserido.
Keywords in English
Chopin
chromaticism
enharmonic reinterpretation
omnibus
polyphony
Teufelsmühle
Abstract in English
Teufelsmühle and omnibus are nomenclatures used to designate structural models deeply similar, which involve chromaticism, polyphony, modulation, minor thirds relation, symmetrical inversion, voice leading, and enharmonic reinterpretations of chords. They refer to patterns originated at least with the musical practice of the eighteenth century, and that even in that time started to be codified by theorists. Nevertheless, these chromatic sequences were studied specifically only beginning at the end of the 1960s and done by two main streams of research, the German, which uses the term Teufelsmühle, and the American, with the designation omnibus. Divided in two parts, this study presents initially structural aspects that refer to Teufelsmühle and omnibus based on a literature review and critical comments developed in this research. The second part intends to look at the relevance of these chromatic models and what they encompass in the compositional process of Chopin, showing the way such principle was used and the main contexts in which it happens.
 
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Publishing Date
2013-03-14
 
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