Jorge Santos
jorgelsantos.com
PhD in Music / Composition - UNICAMP
Master in Music / Composition - UFRJ
Bachelor in Music/Classical Guitar - UNIRIO
Bachelor in Social Science - UFPE
Supervisors: Silvio Ferraz , Carlos Almada, Nicolas de Souza Barros, and Paulo Marcondes
PhD in Music / Composition - UNICAMP
Master in Music / Composition - UFRJ
Bachelor in Music/Classical Guitar - UNIRIO
Bachelor in Social Science - UFPE
Supervisors: Silvio Ferraz , Carlos Almada, Nicolas de Souza Barros, and Paulo Marcondes
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how the problem of form presents itself in the composer's creative process. For this purpose, an interview was carried out with Catanzaro, combined with bibliographic research and analysis of her works. Concepts such as intertextuality and transduction appear as interpretive possibilities that allow
both sketching an idea of microform, the most fundamental element for Catanzaro, and macroform. In the three works analyzed here - A Dream within a Dream, Ijahereni, Andma shajarat al-Hayah tanmow fi al-Sahra Yahi - it is common to use intertextuality as a starting point for the creation of the pieces. It is possible to say that form in Catanzaro's creative process takes place as form in process, resulting from the exploration of the initial sound material.
PT - Resumo: O artigo pretende discutir o modo como a compositora brasileira Tatiana Catanzaro pensa a questão da forma por meio da análise de três de suas obras. O interesse do trabalho é entender como
a questão da forma se apresenta no processo criativo da compositora. Para esse objetivo, foi realizada entrevista com Catanzaro, aliado a pesquisa bibliográfica e análise de suas obras. Conceitos como intertextualidade e transdução aparecem como possibilidades interpretativas que permitem tanto esboçar uma ideia da microforma, elemento mais fundamental para Catanzaro, quanto da macroforma. Nas três obras aqui analisadas – A Dream within a Dream (2012), Ijahereni (2009), Andma shajarat al-
Hayah tanmow fi al-Sahra Yahi (2015) – é comum o uso da intertextualidade como ponto de partida para criação das peças. É possível afirmar que a forma no processo criativo de Catanzaro se realiza como forma em processo, resultante da exploração do material sonoro inicial.
Abstract. The article proposes a discussion on musical form in Rodolfo Caesar’s musical thinking, based on the empirical experience reported by the composer himself. Thus, we propose to analyze the "problem" of form in contemporary musical creation from a creative perspective, seeking to understand to what extent the form as an ontological category presents itself in Caesar's creative process. We analyzed three works by the composer, suggesting elements that, on our view, played a role in the spatio-temporal organization of each piece. It was possible to notice that intertextuality, in its multiple dimensions, and narrativity play both structural roles in the way Caesar deals with his formal needs in these works.
música sobre forma na composição contemporânea,
realizada na UNICAMP sob orientação do Prof. Dr.
Silvio Ferraz, cuja tese foi defendida e aprovada no dia
27.02.2019 sob o título “Considerações sobre a forma
na poética musical contemporânea”.
Abstract: this article aims to discuss, briefly, formal aspects of some works by Rodolfo Caesar and Flo Menezes in the perspective of the debate about formal structure in the genesis of electroacoustic music as well as the composers’ view about the form in their own compositional processes
Abstract: The paper aims to discuss the formal model named moment-form, formally described by Karlheinz Stockhausen (1963), considering the debate between J. Kramer (1978) and C. F. Hasty (1986) about the possibility of discontinuity in a musical work. In the piece Chronochromie, by Olivier Messiaen, considered one of the first experiences of moment-form, is discussed how much some of its musical elements could help or not to shape a time discontinuity and how it could be considered, indeed, an experience of moment-form.
Abstract: The article intends to discuss a formal model proposed by Stockhausen (1963), the Momentform, using as theoretical reference the debate between Kramer (1978) and Hasty (1986) about moment form and discontinuity. We examine three experiences of the moment form, Symphonies of Wind Instruments (Stravinsky) and Monochromie (Messiaen), moment forms avant la lettre, and Momente (Stockhausen), aiming to understand how these experiences have or have not realized the rupture with temporal continuity.
describes briefly the two compositional and methodological tools employed on the piece. On the one
hand, for the production of melodic-harmonic elements, we employed the Gr-System for musical
composition, developed by Carlos Almada (2014). On the other hand, for the formal design, we
employed the software Partitions - elaborated by Pauxy Gentil-Nunes (2009) –, which informs the total
amount of partitions possibilities of a given number.
original work for wind quintet (Haptics Cycle by Jorge L Santos) created after the reflections and results of a research about texture on Pierre Boulez's compositional thought. For this purpose, we used two compositional and methodological tools. On the one hand, for the production of melodic-harmonic elements, we employed the Gr-System for musical composition, developed by Carlos Almada (2014), in which a set of software generates melodic variations from one basic cell, on the other hand, for the formal design, we employed the software Partitions - that is part of a set of programs named Parsemat elaborated by Pauxy GentilNunes (2009) – which informs the total amount of partitions possibilities of a given number. We also used the Sonatine pour flûte et piano, Avant L'artisan furieux/Le Marteau sans Maître and Dérives I’s formal structures by Pierre Boulez as a sort of mirrored design of the form for the textural organization of the sections in Haptics. We also extracted from these pieces basic cells to be employed in the melodic-harmonic development by GrSystem
for classical guitar and live electronics which uses a set of ‘instrumental
gestures' for the guitar as part of the musical performance. The intent here was to elaborate a musical piece that could join, in a free process, the idea of ‘extended technique' to the "writing/instrument extended' using open-sourced musical software. This article briefly discusses the concept of "gesture" as defined by Wanderley (2000) and Delande (1998), especially concerning the guitar performance. It is also discussed the concepts of "extended technique" and "extended instrument" as defined by Padovani and Ferraz (2011). Here two open-source softwares were used: MuseScore2.0 (for the score writing) and Pure Data (for the audio processing in real time).
de controle de processos dinâmicos que compõem a performance musical. O presente artigo relata o processo e os métodos
empregados na composição e performance de uma obra dessa categoria; Gest’Ação I, para violão e live electronics que utiliza o
gesto instrumental violonístico como parte integrante da performance musical. A partir de um inventário de gestos instrumentais
já estabelecidos para o violão, buscou-se aqui elaborar uma peça que unisse, de maneira livre, os conceitos de “técnica estendida”
à de “escrita/instrumento estendido” mediado por softwares musicais de código livre. Buscamos aqui discutir brevemente a noção
de “gesto” em música, conforme definido por (WANDERLEY, 2000) e (DELANDE, 1998), especificamente no que se refere à
performance violonística (TORRES, 2011). São também discutidos neste artigo os conceitos de técnica estendida e instrumento/
escrita estendida, segundo a perspectiva de PADOVANI e FERRAZ (2011). Duas ferramentas de software livre foram utilizadas
na composição desta obra; uma para cada interface da peça. Para a escrita da partitura foi utilizado o MuseScore 2.0 e para
programação do algoritmo de processamento de áudio em tempo real foi utilizado o Pure Data
Sonatine pour flute et piano by Pierre Boulez. For that purpose we used as theoretical and
methodological tools the textural theory by Wallace Berry (1976), focusing on the concepts of
number-density and textural progression and recession, and the Partitional Analysis by
Gentil-Nunes (2009), using its software Parsemat to produce graphics, which mapped the
complete textural occurrence throughout the piece. The analysis has shown the close relation
between texture and form, pointing out, however, the role of textural gestures (motivic) on the
characterization of each section
sua trajetória a partir da análise de três obras de câmara, tendo apresentado ao fim três peças
originais, compostas pelo autor desta pesquisa, que dialogam com alguns dos resultados e
processos metodológicos adotados durante o estudo. Para tal propósito, a pesquisa se divide
inicialmente em dois grandes eixos: primeiramente, uma reflexão sobre o papel da textura
musical como parâmetro estrutural da composição a partir de uma revisão bibliográfica sobre
o tema. Como ferramentas teórico-metodológicas principais, realizou-se uma detalhada
revisão sobre os principais aspectos da teoria textural de Wallace Berry (1987). Ao lado
desta, foram expostas algumas das ferramentas teóricas e analíticas da Análise Particional,
desenvolvidas por Pauxy Gentil-Nunes (2009). No segundo eixo, realizou-se uma revisão
crítica dos principais conceitos teóricos e estéticos propostos por Boulez (1963; 2008) e a
análise de sua produção intelectual, tendo Nicolas (2013), Goldman (2007), Deliège (2003) e
Bayer (1987) como principais contrapontos críticos. Finalmente, como resultado destes dois
eixos iniciais, fora realizado: 1) uma análise textural de três obras de câmara de Boulez,
Sonatine pour flûte et piano (1946), Le Marteau sans Maître (1954) e Dérives1 (1984),
representando três momentos distintos do pensamento estético do compositor, utilizando de
um lado os conceitos de Berry, e do outro, a Análise Particional de Gentil-Nunes; e 2) a
descrição do processo composicional de três obras originais do autor desta pesquisa, na quais
foram utilizados ferramentas da Análise Particional para o planejamento textural e formal, e
do Sistema GR, de autoria de Carlos Almada (2014), para produção e desenvolvimento dos
materiais de altura, em diálogo com as obras de Boulez anteriormente analisadas.
how the problem of form presents itself in the composer's creative process. For this purpose, an interview was carried out with Catanzaro, combined with bibliographic research and analysis of her works. Concepts such as intertextuality and transduction appear as interpretive possibilities that allow
both sketching an idea of microform, the most fundamental element for Catanzaro, and macroform. In the three works analyzed here - A Dream within a Dream, Ijahereni, Andma shajarat al-Hayah tanmow fi al-Sahra Yahi - it is common to use intertextuality as a starting point for the creation of the pieces. It is possible to say that form in Catanzaro's creative process takes place as form in process, resulting from the exploration of the initial sound material.
PT - Resumo: O artigo pretende discutir o modo como a compositora brasileira Tatiana Catanzaro pensa a questão da forma por meio da análise de três de suas obras. O interesse do trabalho é entender como
a questão da forma se apresenta no processo criativo da compositora. Para esse objetivo, foi realizada entrevista com Catanzaro, aliado a pesquisa bibliográfica e análise de suas obras. Conceitos como intertextualidade e transdução aparecem como possibilidades interpretativas que permitem tanto esboçar uma ideia da microforma, elemento mais fundamental para Catanzaro, quanto da macroforma. Nas três obras aqui analisadas – A Dream within a Dream (2012), Ijahereni (2009), Andma shajarat al-
Hayah tanmow fi al-Sahra Yahi (2015) – é comum o uso da intertextualidade como ponto de partida para criação das peças. É possível afirmar que a forma no processo criativo de Catanzaro se realiza como forma em processo, resultante da exploração do material sonoro inicial.
Abstract. The article proposes a discussion on musical form in Rodolfo Caesar’s musical thinking, based on the empirical experience reported by the composer himself. Thus, we propose to analyze the "problem" of form in contemporary musical creation from a creative perspective, seeking to understand to what extent the form as an ontological category presents itself in Caesar's creative process. We analyzed three works by the composer, suggesting elements that, on our view, played a role in the spatio-temporal organization of each piece. It was possible to notice that intertextuality, in its multiple dimensions, and narrativity play both structural roles in the way Caesar deals with his formal needs in these works.
música sobre forma na composição contemporânea,
realizada na UNICAMP sob orientação do Prof. Dr.
Silvio Ferraz, cuja tese foi defendida e aprovada no dia
27.02.2019 sob o título “Considerações sobre a forma
na poética musical contemporânea”.
Abstract: this article aims to discuss, briefly, formal aspects of some works by Rodolfo Caesar and Flo Menezes in the perspective of the debate about formal structure in the genesis of electroacoustic music as well as the composers’ view about the form in their own compositional processes
Abstract: The paper aims to discuss the formal model named moment-form, formally described by Karlheinz Stockhausen (1963), considering the debate between J. Kramer (1978) and C. F. Hasty (1986) about the possibility of discontinuity in a musical work. In the piece Chronochromie, by Olivier Messiaen, considered one of the first experiences of moment-form, is discussed how much some of its musical elements could help or not to shape a time discontinuity and how it could be considered, indeed, an experience of moment-form.
Abstract: The article intends to discuss a formal model proposed by Stockhausen (1963), the Momentform, using as theoretical reference the debate between Kramer (1978) and Hasty (1986) about moment form and discontinuity. We examine three experiences of the moment form, Symphonies of Wind Instruments (Stravinsky) and Monochromie (Messiaen), moment forms avant la lettre, and Momente (Stockhausen), aiming to understand how these experiences have or have not realized the rupture with temporal continuity.
describes briefly the two compositional and methodological tools employed on the piece. On the one
hand, for the production of melodic-harmonic elements, we employed the Gr-System for musical
composition, developed by Carlos Almada (2014). On the other hand, for the formal design, we
employed the software Partitions - elaborated by Pauxy Gentil-Nunes (2009) –, which informs the total
amount of partitions possibilities of a given number.
original work for wind quintet (Haptics Cycle by Jorge L Santos) created after the reflections and results of a research about texture on Pierre Boulez's compositional thought. For this purpose, we used two compositional and methodological tools. On the one hand, for the production of melodic-harmonic elements, we employed the Gr-System for musical composition, developed by Carlos Almada (2014), in which a set of software generates melodic variations from one basic cell, on the other hand, for the formal design, we employed the software Partitions - that is part of a set of programs named Parsemat elaborated by Pauxy GentilNunes (2009) – which informs the total amount of partitions possibilities of a given number. We also used the Sonatine pour flûte et piano, Avant L'artisan furieux/Le Marteau sans Maître and Dérives I’s formal structures by Pierre Boulez as a sort of mirrored design of the form for the textural organization of the sections in Haptics. We also extracted from these pieces basic cells to be employed in the melodic-harmonic development by GrSystem
for classical guitar and live electronics which uses a set of ‘instrumental
gestures' for the guitar as part of the musical performance. The intent here was to elaborate a musical piece that could join, in a free process, the idea of ‘extended technique' to the "writing/instrument extended' using open-sourced musical software. This article briefly discusses the concept of "gesture" as defined by Wanderley (2000) and Delande (1998), especially concerning the guitar performance. It is also discussed the concepts of "extended technique" and "extended instrument" as defined by Padovani and Ferraz (2011). Here two open-source softwares were used: MuseScore2.0 (for the score writing) and Pure Data (for the audio processing in real time).
de controle de processos dinâmicos que compõem a performance musical. O presente artigo relata o processo e os métodos
empregados na composição e performance de uma obra dessa categoria; Gest’Ação I, para violão e live electronics que utiliza o
gesto instrumental violonístico como parte integrante da performance musical. A partir de um inventário de gestos instrumentais
já estabelecidos para o violão, buscou-se aqui elaborar uma peça que unisse, de maneira livre, os conceitos de “técnica estendida”
à de “escrita/instrumento estendido” mediado por softwares musicais de código livre. Buscamos aqui discutir brevemente a noção
de “gesto” em música, conforme definido por (WANDERLEY, 2000) e (DELANDE, 1998), especificamente no que se refere à
performance violonística (TORRES, 2011). São também discutidos neste artigo os conceitos de técnica estendida e instrumento/
escrita estendida, segundo a perspectiva de PADOVANI e FERRAZ (2011). Duas ferramentas de software livre foram utilizadas
na composição desta obra; uma para cada interface da peça. Para a escrita da partitura foi utilizado o MuseScore 2.0 e para
programação do algoritmo de processamento de áudio em tempo real foi utilizado o Pure Data
Sonatine pour flute et piano by Pierre Boulez. For that purpose we used as theoretical and
methodological tools the textural theory by Wallace Berry (1976), focusing on the concepts of
number-density and textural progression and recession, and the Partitional Analysis by
Gentil-Nunes (2009), using its software Parsemat to produce graphics, which mapped the
complete textural occurrence throughout the piece. The analysis has shown the close relation
between texture and form, pointing out, however, the role of textural gestures (motivic) on the
characterization of each section
sua trajetória a partir da análise de três obras de câmara, tendo apresentado ao fim três peças
originais, compostas pelo autor desta pesquisa, que dialogam com alguns dos resultados e
processos metodológicos adotados durante o estudo. Para tal propósito, a pesquisa se divide
inicialmente em dois grandes eixos: primeiramente, uma reflexão sobre o papel da textura
musical como parâmetro estrutural da composição a partir de uma revisão bibliográfica sobre
o tema. Como ferramentas teórico-metodológicas principais, realizou-se uma detalhada
revisão sobre os principais aspectos da teoria textural de Wallace Berry (1987). Ao lado
desta, foram expostas algumas das ferramentas teóricas e analíticas da Análise Particional,
desenvolvidas por Pauxy Gentil-Nunes (2009). No segundo eixo, realizou-se uma revisão
crítica dos principais conceitos teóricos e estéticos propostos por Boulez (1963; 2008) e a
análise de sua produção intelectual, tendo Nicolas (2013), Goldman (2007), Deliège (2003) e
Bayer (1987) como principais contrapontos críticos. Finalmente, como resultado destes dois
eixos iniciais, fora realizado: 1) uma análise textural de três obras de câmara de Boulez,
Sonatine pour flûte et piano (1946), Le Marteau sans Maître (1954) e Dérives1 (1984),
representando três momentos distintos do pensamento estético do compositor, utilizando de
um lado os conceitos de Berry, e do outro, a Análise Particional de Gentil-Nunes; e 2) a
descrição do processo composicional de três obras originais do autor desta pesquisa, na quais
foram utilizados ferramentas da Análise Particional para o planejamento textural e formal, e
do Sistema GR, de autoria de Carlos Almada (2014), para produção e desenvolvimento dos
materiais de altura, em diálogo com as obras de Boulez anteriormente analisadas.
Secondly, we analyze works by composers who, for didactic purposes, we
separate in two groups. In the first, we deal with certain approaches around the idea of non-sequential forms, starting from the sectional forms of the early twentieth century and coming to a climax with the proposition of Stockhausen, the Momentform. The second group consists of works with open forms experiences. To address these formal outputs, we chose to discuss works in the context of the New York School, which explored different modes of openness, from micro to macroforms, from minimal openness to indeterminacy, and improvisation. To a certain extent, these two groups, although dialoguing and influencing each other, took opposite ways of dealing with the degree of control the composer can exercise over the musical work. Thereafter, we bring the reflections to the present, presenting works and discussions about the form in the compositional process of three Brazilian composers: Flo Menezes, Rodolfo Caesar and Tatiana Catanzaro. Finally, in chapter 5, we discuss two of our compositional experiences in dealing with issues related to form, the first for guitar and live electronics called Gest'Ação I, which exposes precisely this dilemma, amplified with the inclusion of the synthesis in real time universe. The second work also for guitar, but solo, One Night in Rio, sought to deal with the idea of Momentform, experiencing the limits of the proposal of total discontinuity, starting from the opposite direction of the first work, from macro to microform.
ABSTRACT
This research discusses the musical texture on the work by Pierre Boulez on three different periods of his career based on the analysis of three of his chamber works, having, at the end of this study, three pieces composed by the author of the present research establishing a dialogue with the outcome and methodological tools of the study. For such purpose, the research is separated initially in two great axes: first, a reflection on the role of musical texture as structural parameter of the composition in the 20th Century after a bibliographical revision on the theme. As main theoretical-methodological tools, it was carried out a detailed review of the main aspects of the textural theory of Wallace Berry (1987). Beside that, it was exposed some of the theoretical and analytical tools of Partitional Analysis, developed by Pauxy Gentil- Nunes (2009). In the second axis, it was developed a critical review of key theoretical and aesthetic concepts proposed by Boulez (1963, 2008) and an analysis of his intellectual output, having Nicolas (2013), Goldman (2007), Deliège (2003) and Bayer (1987) as the main critical counterpoints. Finally, as a result of these two initial axes, the last two parts of the study were carried out: 1) a textural analysis of three chamber pieces by Boulez,
Sonatine pour flute et piano
(1946),
Le Maitre sans Marteau
(1954) and
Dérives 1
(1984), using on one hand the concepts of Berry, and on the other, the partitional analysis by Gentil-Nunes; and 2) the description of the compositional process of three original works by the author of this research, in which Partitional Analysis tools were used for texture and form design as well as the
GR
System, conceived by Carlos Almada (2014), to produce and develop melodic materials, pursuing to establish a dialogue with the works by Boulez previously analyzed, from which materials of pitch and rhythm and general notions of form design were extracted
sua trajetória a partir da análise de três obras de câmara, tendo apresentado ao fim três peças
originais, compostas pelo autor desta pesquisa, que dialogam com alguns dos resultados e
processos metodológicos adotados durante o estudo. Para tal propósito, a pesquisa se divide
inicialmente em dois grandes eixos: primeiramente, uma reflexão sobre o papel da textura
musical como parâmetro estrutural da composição a partir de uma revisão bibliográfica sobre
o tema. Como ferramentas teórico-metodológicas principais, realizou-se uma detalhada
revisão sobre os principais aspectos da teoria textural de Wallace Berry (1987). Ao lado
desta, foram expostas algumas das ferramentas teóricas e analíticas da Análise Particional,
desenvolvidas por Pauxy Gentil-Nunes (2009). No segundo eixo, realizou-se uma revisão
crítica dos principais conceitos teóricos e estéticos propostos por Boulez (1963; 2008) e a
análise de sua produção intelectual, tendo Nicolas (2013), Goldman (2007), Deliège (2003) e
Bayer (1987) como principais contrapontos críticos. Finalmente, como resultado destes dois
eixos iniciais, fora realizado: 1) uma análise textural de três obras de câmara de Boulez,
Sonatine pour flûte et piano (1946), Le Marteau sans Maître (1954) e Dérives1 (1984),
representando três momentos distintos do pensamento estético do compositor, utilizando de
um lado os conceitos de Berry, e do outro, a Análise Particional de Gentil-Nunes; e 2) a
descrição do processo composicional de três obras originais do autor desta pesquisa, na quais
foram utilizados ferramentas da Análise Particional para o planejamento textural e formal, e
do Sistema GR, de autoria de Carlos Almada (2014), para produção e desenvolvimento dos
materiais de altura, em diálogo com as obras de Boulez anteriormente analisadas.
http://compmus.ime.usp.br/sbcm2015/node/14