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A Performer's Guide to Poema De Sete Faces, Song Cycle by Jeffrey Perry

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A Performer's Guide to Poema De Sete Faces, Song Cycle by Jeffrey Perry Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 6-1-2018 A Performer’s Guide to Poema de Sete Faces, Song Cycle by Jeffrey Perry Paulo Henrique Campos Silva Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Performance Commons, and the Other Spanish and Portuguese Language and Literature Commons Recommended Citation Campos Silva, Paulo Henrique, "A Performer’s Guide to Poema de Sete Faces, Song Cycle by Jeffrey Perry" (2018). LSU Doctoral Dissertations. 4605. https://digitalcommons.lsu.edu/gradschool_dissertations/4605 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A PERFORMER’S GUIDE TO POEMA DE SETE FACES, SONG CYCLE BY JEFFREY PERRY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Paulo Henrique Silva B.S., Minas Gerais State University, 2002 M.S., Minas Gerais Federal University, 2008 August 2018 ACKNOWLEDGEMENTS There are so many people whom I am immensely grateful to for their participation in my life, in many different ways, throughout the course of my doctoral program that it would be impossible to mention all of them. In order to solve this dilemma I will limit my acknowledgements here to a list of people who were directly linked with my doctoral program, the dissertation research, and writing process. I thank my parents, both my father Benedito Alves da Silva and my mother Edelvais Campos Silva who have always been present and participating, giving me the necessary strength to continue evolving in this great challenge. A special thanks to my advisor and Chair, Professor Dennis Jesse from whom I learned about my voice, repertoire, and interpretation & performance. Thank you for your support and advising in the process of writing this dissertation. I would also like to thank my Committee members for their great contributions to my comprehensive exams, and acceptance of the subject of this dissertation. Thank you to my advisor for the minor in vocal pedagogy, Dr. Loraine Sims. From you I gained a deeper understanding of voice science, a subject that I greatly appreciate. Thank you Professor Sandra Moon for your classes on diction that were so important to my learning how to systematize my knowledge of languages in order to help my students in a very direct way. Also, thank you for your motivation and support. An additional special thanks to the composer Dr. Jeffrey Perry for his amazing song cycle composed on the text of such a great poet. Thank you for allowing your composition to be the subject of my dissertation, it was a great pleasure interviewing you and learning more about your life and work. Thank you for always being present and for all of your support. Thanks also to the pianist Eva Shanahan who was a true collaborator crucial to the process of building the interpretation and performance of the song cycle. The rehearsals with you were always a place ii where we could experiment and have very productive discussion about the piece and the composer’s style. I also would like to say thank you to Professor Michael Borowitz who read parts of my dissertation and provided great feedback, in addition to having helped in different moments of my program - that Kammermusic 1958 will never be forgotten. Thank you to Dr. Lori Bade for being the person who made my permanence in the program practically possible. Thank you to Dean Dr. Todd Queen with whom I worked during part of my time at LSU. Your support, along with that of Dr. Bade, allowed me to complete the program. Finally, thank you Jen Scott for all your edits, patience, and motivation. For sure my dissertation would not be close to what it is without you. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................................................................ ii LIST OF FIGURES ....................................................................................................................... vi ABSTRACT ................................................................................................................................. viii INTRODUCTION .......................................................................................................................... 1 CHAPTER I. THE COMPOSER JEFFREY PERRY .................................................................... 6 Biographical Information ........................................................................................................ 6 Influences in the Compositional Process .............................................................................. 20 Influences of the Song Cycle Poema de sete faces ............................................................... 25 Composing Poema de sete faces ........................................................................................... 28 Conclusion ............................................................................................................................ 31 CHAPTER II. THE POET CARLOS DRUMMOND DE ANDRADE ....................................... 32 Biographical Information ...................................................................................................... 32 Drummond in the Modernist Movement .............................................................................. 45 Style ...................................................................................................................................... 47 Conclusion ............................................................................................................................ 54 CHAPTER III. THE SONG CYCLE POEMA DE SETE FACES................................................ 57 Introduction ........................................................................................................................... 57 1st Song: Quando nasci, um anjo torto ................................................................................ 58 2nd song: As casas espiam os homens .................................................................................. 72 3rd song: O bonde passa cheio de pernas ............................................................................ 81 4th Song: O homem atrás do bigode ..................................................................................... 93 5th Song: Meu Deus, por que me abandonaste .................................................................. 104 6th Song: Mundo mundo vasto mundo ................................................................................ 113 7th Song: Eu não devia te dizer .......................................................................................... 123 CONCLUSION ........................................................................................................................... 134 REFERENCES ........................................................................................................................... 141 APPENDIX A. IPA BRAZILIAN-PORTUGUESE PRONUNCIATION GUIDE ................... 146 APPENDIX B. FULL SCORE OF THE SONG CYCLE: POEMA DE SETE FACES ............. 151 APPENDIX C. INTERVIEW I................................................................................................... 173 APPENDIX D. INTERVIEW II ................................................................................................ 184 APPENDIX E. COMPOSER CURRICULUM VITAE ............................................................. 192 iv APPENDIX F. LIST OF WORKS.............................................................................................. 198 APPENDIX G. NOBEL PRIZE NOMINATION IN 1967 ........................................................ 200 APPENDIX H. LETTER OF PERMISSION ............................................................................. 201 VITA ........................................................................................................................................... 202 v LIST OF FIGURES Figure 1. Quando nasci opening ................................................................................................... 65 Figure 2. The polyrhythm ............................................................................................................. 66 Figure 3. The expressive techniques that enhance and reveal meanings ...................................... 67 Figure 4. The two voices of the piano........................................................................................... 68 Figure 5. The polyrhythm in the announcement ........................................................................... 68 Figure 6. The closing of the first song .......................................................................................... 69 Figure 7. The stereophonic effect ................................................................................................. 75 Figure 8. The half step ascending sequence of chords .................................................................. 75 Figure 9. The opening vocal melody ...........................................................................................
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