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Finale 2004B UNIVERSIDADE DE SÃO PAULO ESCOLA DE COMUNICAÇÕES E ARTES CÁSSIA CARRASCOZA BOMFIM O PROBLEMA DO TEMPO NO REPERTÓRIO DE OBRAS MISTAS PARA FLAUTA SOLISTA São Paulo 2016 Cássia Carrascoza Bomfim O PROBLEMA DO TEMPO NO REPERTÓRIO DE OBRAS MISTAS PARA FLAUTA SOLISTA Tese apresentada ao programa de música da Escola de Comunicações e Artes da Universidade de São Paulo, como requisito para a obtenção do título de Doutor. Área de Concentração: Musicologia Orientador: Prof. Doutor Rodolfo Nogueira Coelho de Souza São Paulo 2016 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. Catalogação na Publicação Serviço de Biblioteca e Documentação Escola de Comunicações e Artes da Universidade de São Paulo Dados fornecidos pelo(a) autor(a) Bomfim, Cássia Carrascoza O problema do tempo no repertório de obras mistas para flauta solista / Cássia Carrascoza Bomfim. -- São Paulo: C. C. Bomfim, 2016. 299 p.: il. + il+ CD. Tese (Doutorado) - Programa de Pós-Graduação em Música - Escola de Comunicações e Artes / Universidade de São Paulo. Orientador: Rodolfo Nogueira Coelho de Souza Bibliografia 1. flauta contemporânea 2. análise musical 3. música eletroacústica 4. tempo musical 5. técnicas expandidas I. Nogueira Coelho de Souza, Rodolfo II. Título. CDD 21.ed. - 780 Nome: Cássia Carrascoza Bomfim Título: O problema do tempo no repertório de obras mistas para flauta solista Tese apresentada à Escola de Comunicações e Artes da Universidade de São Paulo para a obtenção do título de Doutor em Música Banca Examinadora ───────────────────── Prof. Dr. Rodolfo Nogueira Coelho de Souza orientador ───────────────────── Prof. Dr. Florivaldo Menezes Filho ───────────────────── Prof. Dr. Alexandre Roberto Lunsqui ───────────────────── Prof. Dr. Regis Rossi Alves Faria ───────────────────── Prof. Dr. Fábio Cury Ao Albino e à Clara Agradecimentos Ao Prof. Dr. Rodolfo Nogueira Coelho de Souza, pela competente orientação, pelo incentivo e por acolher as perguntas que vivem no mundo do palco. A Flo Menezes e Fábio Cury pela qualificação atenta e construtiva. Ao professor Álvaro Carlini pelo interesse, amizade e sugestões para meu trabalho. A Eliana G. Sulpicio por toda generosidade e ajuda na pesquisa. Ao Sérgio Kafejian pelos incontáveis esclarecimentos, material e encorajamento ao longo desse trabalho. Aos músicos entrevistados: Helen Bledsoe, Julián Elvira, Sarah Hornsby e Carla Rees, pelo carinho que me receberam e a boa vontade em compartilharem comigo seus conhecimentos. Aos músicos amigos: Giuliana Audrá, Lídia Bazarian, Helcio dela Torre, Luis Afonso Montanha, Meryelle Maciente, Diogo Maia, Horácio Gouveia e Alessandro Hiro da Conceição pela ajuda. Ao jovem flautista Rafael Victor Mantovani pelos exemplos musicais e todos os trabalhos sempre prontamente realizados. Ao Itamar Vidal pelas muitas ajudas desde o início deste processo, pela paciência e sobretudo pelo carinho. A Jeanne de Castro pela amizade e revisões do texto ao meu lado. Rosa Vasti pela amizade sempre. À minha mãe Aracelis (in memoriam) e ao meu pai Léo pelo incentivo sempre amoroso e aos meus tios Reinaldo e Vera que como pais sempre estão presentes. Aos meus mais queridos Albino e Clara pelo entendimento das ausências, por tudo o mais e mais um pouco. Resumo O objetivo dessa pesquisa é uma investigação sobre o tempo e suas diferentes possibilidades de percepção, sob ponto de vista do intérprete, durante a performance de obras eletroacústicas mistas, sejam compostas com difusão em tempo diferido ou com processamento em tempo real. Foram estabelecidas as definições de tempo diferido e de tempo real e suas implicações. Apontamos aspectos da evolução da música eletroacústica e da inserção do repertório para flauta nesse contexto. Aspectos de duas obras de referência, Musica su due Dimensioni de Bruno Maderna e Jupiter de Phillippe Manoury, foram analisados sob o enfoque da questão do tempo diferido ou do tempo real. Tendo em vista as particularidades dos aspectos interpretativos da música eletroacústica, escolhemos para estudar alguns parâmetros de interpretação que incluem a produção das técnicas expandidas e suas peculiaridades de amplificação. Realizamos três análises voltadas para a performance de obras em tempo diferido, Flautatualf de Jorge Antunes, Durações de Rodolfo Coelho de Souza e Parcours de L’Entité de Flo Menezes e duas outras com processamento em tempo real, Lizamander de Russell Pinkston e Dawnligth de Jérôme Combier Palavras chave: flauta contemporânea, análise musical, música eletroacústica mista, tempo musical, técnicas-expandidas. Abstract The aim of this dissertation is a research about certain categories of musical time and their different possibilities of perception, from the point of view of the performer, during the performance of electroacustics music composed with pre-recorded tape or live electronics computer processing. We propose definitions about fixed time and real time and also their demands. We point out aspects of the evolution of electronic music and of the insertion of the flute repertoire in this context. Aspects of two referencial works, Musica su due Dimensioni by Bruno Maderna and Jupiter by Phillippe Manoury, were analyzed regarding the question of fixed or real time. Concerning the particular interpretative aspects of electroacoustic music we selected to study some parameters of performance that include the prodution of extended techniques and their amplification peculiarities. Regarding performance aspects, we have analysed three works that use pre-recorded tapes: Flautatualf by Jorge Antunes, Durações by Rodolfo Coelho de Souza e Parcours de L’Entité by Flo Menezes. And two others with live-electronics: Lizamander by Russell Pinkston and Dawnligth by Jérôme Combier. Keys words: contemporary flute, musical analysis, mixed electroacoustic music; musical time; expanded techniques Sumário Lista de exemplos musicais Lista de tabelas Lista de quadros Lista de figuras INTRODUÇÃO CAPÍTULO 1. Considerações sobre o tempo musical .............................. 18 1.1 - Tempo diferido - definição e implicações ..................................... 28 1.2 - Tempo real - definição e implicações ........................................... 32 CAPÍTULO 2. Mapeamento do repertório eletroacústico misto para flauta transversal .................................................................................................... 33 2.1 Apontamentos sobre a Evolução da Música Eletroacústica ... 33 2.2 A flauta e a tecnologia ........................................................... 38 2.2.1 – Apontamentos sobre duas obras de referência ... 47 2.2.1.1 – Musica su due Dimensioni, de Bruno Maderna 47 2.2.1.2. – Jupiter, de Phillippe Manoury .......................... 53 CAPÍTULO 3. Parâmetros de interpretação estabelecidos pelo performer ........................................................................................................................ 66 3.1 O olhar do intérprete sobre a grafia do tempo ....................... 66 3.2 Aspectos comuns da difusão por tempo diferido e processamento em tempo real ....................................................................... 85 3.3 Flauta amplificada: novas perspectivas sonoras .................... 90 3.3.1 Avanços técnicos do repertório .............................. 90 3.3.2 Novo vocabulário sonoro ....................................... 93 3.4 Produção da sonoridade da flauta acústica e amplificada - experiências artísticas em diversos ambientes sonoros ............................... 100 3.5.Obras amplificadas: aplicação do vocabulário de técnicas expandidas .................................................................................................. 104 CAPÍTULO 4- Aspectos interpretativos no gênero misto ........................ 109 4.1 O Gesto musical: Relação com a fonte sonora eletrônica ... 109 4.2 Amplificação em obras mistas: alternância entre o uso do microfone e a flauta acústica ........................................................................ 113 4.3 Obras em tempo diferido ..................................................... 117 4.3.1 - Flautatualf - Jorge Antunes ..........................................117 4.3.2. Durações - Rodolfo Coelho de Souza ...........................121 4.3.3 Parcours de L’Entité, Flo Menezes ................................144 4.4 Obras com processamento em Tempo Real ....................... 169 4.4.1 Lizamander - Russel Pinkston .................................. 169 4.4.2 Dawnligth - Jérôme Combier .................................... 170 CONCLUSÃO .............................................................................................. 187 REFERÊNCIAS BIBLIOGRÁFICAS ............................................................ 190 Anexos I:- Entrevistados ........................................................................... 196 Anexos II -Partituras .................................................................................. 207 AnexoIII -CD- Músicas Gravadas Lista de Exemplos musicais Exemplo musical 1 A e B: Jupiter, dois extratos da partitura ................................................. 64 Exemplo musical 2: Kairós IV, pássaros de pó, respiração continua ..................................... 69 Exemplo musical 3: Trecho inicial da Sequenza I de Berio, escrita proporcional .................. 73 Exemplo musical 4:10 Pieces for Wind Quintet de Ligeti, instrução de mudança de velocidade .................................................................................................................................................
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