Composition by the concatenation of independent fragments
DOI:
https://doi.org/10.5965/2525530407022022e0203Keywords:
compositional planning, pitch-class set theory, musical composition pedagogyAbstract
In this article, a compositional work plan, of a pedagogical nature, is described, based on the theoretical contents of the six chapters of Straus's (2013) book, entitled Introduction to Post-Tonal Theory. The central idea was to demonstrate the planning, the composition, and the subsequent concatenation of six independent fragments, with the active participation of five composition students, focusing on the following topics: interval types, sets classes, operations on pitch-class sets, contour relations, Z-relation, scalar formations, dodecaphonism, combinatoriality, derivation, multiplication, and integral serialism. Concomitant with the post-tonal theoretical framework, five original pedagogical premises served as a guide during each stage of the work. The six fragments, each with approximately thirty seconds, were then concatenated, taking into account six original procedures proposed by the author, in order to produce a coherent work of about three minutes, for wind quintet.
Downloads
References
ADORNO, Theodor. Music, Language, and Composition. Trad. Susan Gillespie. The Musical Quarterly, v. 77, n. 3, p. 401-414, 1993.
ANAGNOSTOPOULOU, Christina. Lexical cohesion in linguistic and musical discourse. In: ESCOM, 3.,1997. Proc. […]. [S. l.: s. n.], 1997. p. 655-660.
BARBOSA, Hildegard; SANTOS, Raphael Sousa; PITOMBEIRA, Liduino. Lewin: desenvolvimento de uma calculadora de classes de altura com funções analíticas e composicionais. In: Congresso da ANPPOM, 25., 2015. Anais... 2015, p. 1-8.
BOULEZ, P. A música hoje. São Paulo: Perspectiva, 1972.
BROWN, Gillian; YULE, Geroge. Discourse Analysis. Cambridge: Cambridge University Press, 1983.
DE BEAUGRANDE, Robert; DRESSLER, Wolfgang. Introduction to Text Linguistics. London: Longman, 1981.
EMMERSON, Simon. Composing Strategies and Pedagogy. Contemporary Music Review, v .3, p. 133-144, 1989.
FORTE, Allen. The Structure of Atonal Music. New Haven: Yale Univ. Press, 1973.
FERREIRA, Esdras Sarmento; SANTOS, Raphael Sousa; LIMA, Flávio Fernandes de; CARVALHO, Hugo Tremonte de; PITOMBEIRA, Liduino. Sistema Composicional Intermarkoviano. Revista Vórtex, Curitiba, v. 8, n. 2, p. 1-46, 2020.
HARRIS, Simon. A proposed classification of chords in early twentieth-century music. New York: Garland, 1989.
GOLDMAN, Jonathan. The Musical Language of Pierre Boulez: Writings and Compositions. New York: Cambridge Univ. Press, 2011.
HALLIDAY, Michael; HASAN, Ruqaiya. Cohesion in English. London: Longman, 1976.
HEINEMANN, Stephen. Pitch-class Set Multiplication in Theory and Practice. Music Theory Spectrum, v. 20, n. 1, p. 72-96, 1998.
HINDEMITH, Paul. The Craft of Musical Composition. New York: Schott, 1970.
KOHS, Ellis. Musical Form: Studies in Analysis and Synthesis. Boston: Houghton Mifflin Company, 1976.
KOSTA, Stefan. Materials and Techniques of Twentieth-Century Music. 3. ed. Upple Saddle River, New Jersey: Prentice Hall, 2006.
KOBLYAKOV, Lev. Pierre Boulez: a World of Harmony. New York: Harwood, 1990.
KRISTEVA, Julia. A História da Linguagem. Lisboa: Edições 70, 1969.
LACHENMANN, Helmut. Vier Grundbestimmungen des Musikhörens [1979]. In: LACHENMANN, Helmut. Musik als existentielle Erfahrung: Schriften 1966-1995. Wiesbaden: [s. n.], 1996. p. 54-62.
MAIA, Lucas Simões. Formalismos da composição algorítmica: um experimento com canções folclóricas brasileiras. Dissertação (Mestrado em Engenharia Elétrica) – Programa de Engenharia Elétrica, Universidade Federal do Rio de Janeiro, Rio de Janeiro, 2016.
MEDEIROS, Rubem; SANTOS, Raphael Sousa; PITOMBEIRA, Liduino. Modelagem Sistêmica baseada em Cadeias de Markov. In: Congresso da ANPPOM, 21, 2011. Anais... 2011, p. 1879-1885, 2011.
MENEZES, Flo. Apoteose de Schoenberg. São Paulo: Ateliê Editorial, 2002.
MESQUITA, Gabriel. A acústica da influência: uma decomposição da intertextualidade na música. Dissertação (Mestrado em Música) – Programa de Pós-Graduação em Música, Universidade Federal do Rio de Janeiro, Rio de Janeiro, 2018.
OJALA, Juha. Space in Musical Semiosis: An Abductive Theory of the Musical Composition Process. Helsinki: Hakapaino, 2009.
PACCIONE, Paul. Chromatic Completion: Its Significance in Tonal and Atonal Contexts. College Music Symposium, v. 28, p. 85-93, 1988.
PITOMBEIRA, Liduino. Compositional Systems: Overview and Application. MusMat: Brazilian Journal of Music and Mathematics, v. 4, n. 1, p. 39-62, 2020.
PITOMBEIRA, Liduino. Compositionality as Creative Identity Building. Musica Theorica, v. 4, n. 2, p.113-133, 2019.
PITOMBEIRA, Liduino. A Systemic Model for Debussy’s Prelude n. 1. MusMat: Brazilian Journal of Music and Mathematics, v. 2, n. 2, p. 37-56, 2018.
PITOMBEIRA, Liduino. Diálogos entre a Musicologia e a Composição à luz de três modelos composicionais. In: VOLPE, Maria Alice. (Org.). Teoria, Crítica e Música na Atualidade. Série Simpósio Internacional de Musicologia. Rio de Janeiro: Universidade Federal do Rio de Janeiro / Escola de Música/PPGM, v. 2, p. 261-272, 2012.
SAMPAIO, Marco da Silva. A Teoria de Relações de Contornos Musicais: inconsistências, soluções e ferramentas. Tese (Doutorado em Música) – Programa de Pós-Graduação em Música, Universidade Federal da Bahia, Salvador, 2012.
SOUZA, Rodolfo Coelho de. Sintaxe e parataxe na música moderna e pós-moderna. Opus, Goiânia, v. 13, n. 2, p. 73-91, dez. 2007.
STRAUS, J. Introdução à Teoria Pós-Tonal. Trad. Ricardo Bordini. Salvador: EDUFBA, 2013.
SOUSA, Daniel; OLIVEIRA, Helder; PIRES, Leandro; PADRÃO, Lucas; RIBEIRO, Roberto; TRINDADE, Vilane; PITOMBEIRA, Liduino. Perfis composicionais como base metodológica para a modelagem do Prelúdio n.2 de Santoro. Revista Vórtex, v. 9, p. 1-52, 2021.
TYMOCZKO, Dmitri. A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice. Oxford: Oxford University Press, 2011.
WANG, Yuan; GUO, Ming. A Short Analysis of Discourse Coherence. Journal of Language Teaching and Research, v. 5, n. 2, p. 460-465, 2014.
Published
How to Cite
Issue
Section
License
Copyright (c) 2022 Liduino José Pitombeira de Oliveira
This work is licensed under a Creative Commons Attribution 4.0 International License.
Authors who submit their manuscripts to be published in this journal agree to the following terms:
1. Authors retain the copyright and grant to the journal the right of first publication, whilst simultaneously permitting their work to be licensed under the Creative Commons License Attribution, which allows the sharing of work with recognition of the authorship and initial publication in this journal.
2. Contributions in this journal are open access; this means they are based in free use, and non-commercial applications.
