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Master's Dissertation
DOI
10.11606/D.27.2014.tde-18052015-162329
Document
Author
Full name
Ísis Biazioli de Oliveira
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2014
Supervisor
Committee
Salles, Paulo de Tarso Camargo Cambraia (President)
Bonis, Maurício Funcia de
Mello Filho, Silvio Ferraz
Title in Portuguese
Processos composicionais no Kyrie do Réquiem de György Ligeti
Keywords in Portuguese
Análise musical
Fuga
György Ligeti
Música do século XX
Réquiem
Simetria, Ilusão Sonora
Abstract in Portuguese
Este trabalho tem por objetivo analisar os processos composicionais do Kyrie, segundo movimento do Réquiem (1963-65), de György Ligeti. Segundo seu compositor, essa peça é uma "estranha fuga" e, como tal, receberá durante nosso trabalho a terminologia correspondente a essa declaração. No primeiro capítulo, investigaremos a microestrutura da obra e perceberemos aí o caráter direcional das alturas do Sujeito 1, Kyrie eleison, (Cohn, 1998; Douthett & Steinbach, 1998; Lewin; 1982) e as simetrias que descrevem o Sujeito 2, Christe eleison (Weyl, 1997; McManus, 2005). No segundo capítulo, discutiremos o conceito de ilusão sonora (Caznok, 2008; Vitale, 2013; Menezes, 2004), sua recorrência na obra de Ligeti e na compreensão da superfície audível do Kyrie. No terceiro e último capítulo, retomaremos alguns aspectos da história do termo "fuga" (Mann, 1987) na busca de reflexos dessa história na escrita de Ligeti. Durante todo o nosso texto, lembraremos de outras obras artísticas que, em diálogo com o Kyrie, nos ajudarão a exemplificar, contrapor ou ratificar procedimentos composicionais da obra de Ligeti. Nossa investigação tende a situar a obra desse compositor na questão da Tradição e Ruptura, problematizada pela modernidade (Arendt, 2013; Compagnon, 2010), a partir de uma abordagem prática: a da análise musical.
Title in English
-
Keywords in English
Fugue
György Ligeti
Musical Analysis
Réquiem
Sound Illusion
Symmetry
Twentieth-century Music
Abstract in English
This work aims to analyze the compositional process of Kyrie, the second movement of Réquiem (1963-95), by György Ligeti. According to Ligeti, this piece is a "strange fugue" and, as such, we will use a terminology corresponding to that statement. In the first chapter, we will investigate the microstructure of the piece and we will find the pitches' directionality of the Subject 1, Kyrie eleison, (Cohn, 1998; Douthett & Steinbach, 1998; Lewin; 1982) and the symmetries that characterizes the Subject 2, Christe eleison (Weyl, 1997; McManus, 2005). In the second chapter, we will discuss the concept of sound illusion (Caznok, 2008; Vitale, 2013; Menezes, 2004), its recurrence in Ligeti's repertoire and its relevance to the understanding of the audible surface of Kyrie. In the third chapter, we will remember some aspects of the history of the word "fugue" (Mann, 1987), looking for reflections of this history in the Kyrie. During our argumentation, we will bring out another works of art, which will be related to the Kyrie, helping us to illustrate, oppose or endorse the compositional procedures of Ligeti's work. Our research tends to situate the Kyrie in the context of Tradition and Rupture, considered by modernity (Arendt, 2013; Compagnon 2012), from a practical approach, the analytical research
 
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Publishing Date
2015-05-19
 
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