Bagatelas d’Alma: compositor e intérprete, co-partícipes no processo criativo

• Ano de defesa: 2017
• Autor(a) principal: Silva, Antonio Vinicius Gomes da
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Brasil; UFRN; PROGRAMA DE PÓS-GRADUAÇÃO EM MÚSICA
• Palavras-chave em Português: Contrabaixo; Viola; Relação intérprete-compositor; Sub-harmônicos; Música de câmara; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA
• Link de acesso: https://repositorio.ufrn.br/jspui/handle/123456789/23238

From a newly created duo (viola and contrabass) came an insight to bring this musical dialogue to the academic environment. This paper mainly deals with the relationship between the composer Samuel Cavalcanti and interpreters Vinicius Gomes on bass and Prof. Paulo França (guest violist) and is intended for the discussion of intimate and relational factors of musical creation in direct collaboration with the performer’s musical ideas. The piece Bagatelas d'Alma for double bass (acoustic and electric) and viola, was made especially for this work. It is a piece formed of nine movements, many of which are inspired by said related word ‘soul’. It also includes electronic interventions such as intrauterine recordings and postpartum; electronic bricolage with public songs campaigns (jingles), overlapping voices from personalities and interpreters themselves in the act of performance. An additional electronic feature is the use of amplification effects and interventions in real time as the use of microphones, electric bass and effects pedal. The conception –, the creative process and its peculiarities –, between the, more than actual performance is the central object of this study: the relationship affection of interpretative knowledge, the performer is curiosities, their questions and the provocation of the composer, his questions and the discussion that brought forth a work still in form (work in progress). Therefore, we used as methodology compositional and interpretative aspects, literature, conversation recording and audio recordings, as well as theoretical references such BARTOLOZZI (1982), BORÉM (1998), DOMENICI (2005), RAY (2010) among others. The final result of this research is to compile in a single document information that provides subsidies that can help composers and interpreters to think about the collaborative music making.