Lycia de Biase Bidart e os Estudos Interartes: contribuições para uma interpretação musical

• Ano de defesa: 2023
• Autor(a) principal: Lorenção, Tayná Batista
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal do Espírito Santo; BR; Mestrado em Artes; Centro de Artes; UFES; Programa de Pós-Graduação em Artes
• Palavras-chave em Português: Interartes; Música, poesia e ilustração; Lycia De Biase Bidart; Interpretação e performance; subject.br-rjbn; Artes
• Link de acesso: http://repositorio.ufes.br/handle/10/17001

The main objective of this dissertation is to look at songs composed by Lycia De Biase Bidart (1910 – 1991) based on three poems from the book “Ou isto ou aquilo” by Cecília Meireles (1901 – 1964), and illustrations by Maria Bonomi (1935), and observe how the internal articulations between sound, verbal and visual signs occur in these songs. These songs are poetic musical creations written in 1973 in Rio de Janeiro, entitled “As meninas”, “O mosquito escreve” and “Rômulo Rema”. To build this dialogue, first, we conducted a literature review to find recent researches like ours and, mainly, prospecting methodological possibilities. Then, we seek to present who Lycia was in the erudite music scene in Espírito Santo and Brazil in the first half of the 20th century. In addition, we sought to identify stylistic and interartistic elements in her work through titles, catalogues, newspaper comments and influences from her teachers. After this biographical approximation of Lycia, we reflect on challenges for solo and collaborative pianistic interpretation, as well as briefly discuss important concepts in the development of an interpretation supported by interarts dialogue: translation, transcription, transcreation and musical images. In the last chapter, we brought the analyzes of the songs, exposing literary, visual, and pictorial aspects from the poems, to seek an understanding of the existing hybrid processes. We finish with a review of the construction process of a musical interpretation, in which we dialogue with our creative experience and that of the singers, including indications of tempos, guidance on certain pianistic techniques, breathing, rubato tempo, use of pedals, dynamics and more specific issues differences between the versions for piano and voice and piano and vocal duo.