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Natal-Rn 2016 UNIVERSIDADE FEDERAL DO RIO GRANDE DO NORTE ESCOLA DE MÚSICA PROGRAMA DE PÓS-GRADUAÇÃO EM MÚSICA FERNANDO BUENO MENINO POSSIBILIDADES INTERPRETATIVAS ENVOLVENDO INSTRUMENTOS DE PERCUSSÃO E RECURSOS TECNOLÓGICOS NA OBRA CLAPPING MUSIC (1972), DE STEVE REICH NATAL-RN 2016 FERNANDO BUENO MENINO POSSIBILIDADES INTERPRETATIVAS ENVOLVENDO INSTRUMENTOS DE PERCUSSÃO E RECURSOS TECNOLÓGICOS NA OBRA CLAPPING MUSIC (1972), DE STEVE REICH Artigo apresentado ao Programa de Pós-Graduação em Música da Universidade Federal do Rio Grande do Norte, na linha de pesquisa – Processos e Dimensões da Produção Artística, como requisito parcial para a obtenção do título de Mestre em Música. Orientador: Prof. Dr. Cleber da Silveira Campos NATAL-RN 2016 Catalogação da Publicação na Fonte Biblioteca Setorial da Escola de Música M545p Menino, Fernando Bueno. Possibilidades interpretativas envolvendo instrumentos de percussão e recursos tecnológicos na obra Clapping Music (1972), de Steve Reich / Fernando Bueno Menino. – Natal, 2015. 52 f.: il.; 30 cm. Orientador: Cleber da Silveira Campos. Artigo (mestrado) – Escola de Música, Universidade Federal do Rio Grande do Norte, 2015. 1. Música para percussão. 2. Música e Tecnologia. 3. Prática interpretativa (Música). I. Campos, Cleber da Silveira. II. Título. RN/BS/EMUFRN CDU 789 FERNANDO BUENO MENINO POSSIBILIDADES INTERPRETATIVAS ENVOLVENDO INSTRUMENTOS DE PERCUSSÃO E RECURSOS TECNOLÓGICOS NA OBRA CLAPPING MUSIC (1972), DE STEVE REICH Artigo apresentado ao Programa de Pós- Graduação em Música da Universidade Federal do Rio Grande do Norte, como requisito parcial para a obtenção do título de Mestre em Música. APROVADA EM: ____/_____/____ BANCA EXAMINADORA __________________________________________________________________ PROF. DR. CLEBER DA SILVEIRA CAMPOS UNIVERSIDADE FEDERAL DO RIO GRANDE DO NORTE (UFRN) ORIENTADOR ___________________________________________________________________ PROF. DR. MARCUS ANDRE VARELA VASCONCELOS UNIVERSIDADE FEDERAL DO RIO GRANDE DO NORTE (UFRN) MEMBRO DA BANCA ___________________________________________________________________ PROF. DR. CESAR ADRIANO TRALDI UNIVERSIDADE FEDERAL DE UBERLÂNDIA (UFU) MEMBRO DA BANCA AGRADECIMENTOS A Deus, que me fez chegar até aqui com saúde para batalhar pelos meus objetivos. A minha querida mãe, por confiar e entender minha dedicação aos estudos da música. A minha namorada Janmille, por ser meu braço direito tanto nos momentos bons, como nos ruins. A todos meus professores percussivos, Luis Marcos Caldana, Gilmar Goulart, Cleber Campos e Germanna Cunha pelos ensinamentos musicais. A CAPES, pela bolsa de estudos cedida durante minha pesquisa. Aos meus amigos que a música me proporcionou durante todos esses anos de caminhada. “A prática musical usualmente requer algum tipo de interação, seja entre músicos, entre músicos e uma plateia ou entre o músico e aparatos tecnológicos. O sujeito que não possui as habilidades interpessoais necessárias terá dificuldades em estabelecer e conviver com essas interações”. Gohn (2003, p. 7) RESUMO O presente trabalho tem por finalidade identificar, segundo a literatura e discografia, novas possibilidades de execução para obras minimalistas do compositor norte-americano Steve Reich, escritas entre 1972 e 1983. Mais especificamente, o artigo apresenta um estudo focado na adaptação de algumas de suas composições as quais não foram escritas originalmente para serem executadas por um único intérprete (formato solo). A metodologia consiste na ánalise deste repertório e suas respectivas técnicas composicionais. Posteriormente, extraíram-se novas versões, com caráter experimental, focados na interação entre instrumentos de percussão e recursos tecnológicos. Tais possibilidades foram implementadas através das oficinas de experimentação. Como resultado, gerou-se uma nova possibilidade de interpretação para a obra Clapping Music (1972). Deste modo, o trabalho aqui reportado visa apresentar as considerações relacionadas à performance, os processos utilizados para a implementação, assim como os resultados obtidos durante as oficinas. Concluiu-se que tais implementações, aliadas à interação com recursos tecnológicos, proporcionaram ao intérprete um maior aprofundamento do aspecto técnico/interpretativo, assim como das possibilidades de interação entre instrumentos de percussão e dispositivos eletrônicos. Palavras-chave: Steve Reich. Minimalismo. Percussão. Dispositivos Eletrônicos. Performance. ABSTRACT This study aims to identify, according to the literature and discography, new performance possibilities for minimalist works of American composer Steve Reich, written between 1972 and 1983. More specifically, the article presents a study focused on the adaptation of some of its compositions which were not originally written to be executed by a single performer (solo format). The methodology consists of analyzing this repertoire and their compositional techniques. Posteriorly, new versions were extracted with experimental character, focused on the interaction between percussion instruments and technological resources. Such possibilities were implemented through experimentation workshops. As a result, it generated a new possibility of interpretation for the work Clapping Music (1972). Thus, the work reported here is to present the considerations related to performance, the processes used to implement, and the results obtained during the workshops. It was concluded that such implementations, combined with interaction with technological resources, provided the interpreter further deepening of technical/interpretative aspect, as well as the possibilities of interaction between percussion instruments and electronic devices. Keywords: Steve Reich. Minimalism. Percussion. Electronic Devices. Performance. LISTA DE FIGURAS Figura 1 - Capa frontal do álbum Kuniko Plays Reich, gravado em 2011 por Kuniko Kato . 25 Figura 2 - Montagem de palco idealizada por Kuniko Kato para o projeto Kuniko Plays Reich. Alto-falantes dispostos em círculo. ............................................................................... 26 Figura 3 - Montagem de palco idealizada por Kuniko Kato para o projeto Kuniko Plays Reich. Alto-falantes dispostos em semicírculo. ........................................................................ 27 Figura 4 - Capa frontal do álbum Percussive Counterpoint, gravado em 2008 por Svet Stoyanov . ................................................................................................................................. 30 Figura 5 - Capa frontal do álbum Precipice Modern Marimba, gravado em 2006 por Nathaniel Bartlett ...................................................................................................................... 31 Figura 6 - Posicionamento dos alto-falantes utilizados na adaptação de Nathaniel Bartlett para Vermont Counterpoint, de Steve Reich. ........................................................................... 32 Figura 7 - Diagrama criado por Mike Day para a adaptação em Clapping Music com bolinhas de malabarismo. ........................................................................................................................ 35 Figura 8 - Performance da versão de Evelyn Glennie para Clapping Music. ......................... 37 EXEMPLOS MUSICAIS Exemplo musical 1 – Três primeiros compassos de Clapping Music (1972) ......................... 13 Exemplo musical 2 - Quatro últimos compassos de Clapping Music (1972). ........................ 13 Exemplo musical 3 - Seção 1 de Piano Phase (1967), composta por Steve Reich para dois pianos. ....................................................................................................................................... 18 Exemplo musical 4 - Seção 2 de Piano Phase (1967), composta por Steve Reich para dois pianos. ....................................................................................................................................... 19 Exemplo musical 5 - Seção 3 de Piano Phase (1967), composta por Steve Reich para dois pianos. ....................................................................................................................................... 19 Exemplo musical 6 - Partitura de Clapping Music for a One Performer, de Jesse Nolan. A partitura é dividida em um pentagrama para cada membro e um destinado ao sampler. ......... 38 Exemplo musical 7 - Comparação do padrão presente no Yoruba music com o padrão composto por Reich em Clapping Music. A diferença está basicamente em apenas uma nota, no caso, uma a mais em Clapping Music. ................................................................................ 43 Exemplo musical 8 - As figuras rítmicas demarcadas são as notas coincidentes entre as duas vozes para a criação de uma terceira camada em Clapping Music. ......................................... 44 Exemplo musical 9 - Terceira camada formada através das vozes defasadas em Clapping Music. ....................................................................................................................................... 44 SUMÁRIO 1 INTRODUÇÃO ........................................................................................................ 11 2 STEVE REICH E SEU PENSAMENTO COMPOSICIONAL ........................... 16 2.1 Maleabilidade timbrística nas obras de Steve Reich ............................................. 21 3 REINTERPRETEÇÕES DE PERCUSSIONISTAS UTILIZANDO RECURSOS TECNOLÓGICOS EM OBRAS DE REICH ...................................................................... 23
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