Sobreposição temporal de parâmetros sonoros: Processo e Análise em cinco composições do final do século XX e início do século XXI
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Data
2019-07-29
Autores
Silva, Ricardo Tanganelli da [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
A partir da segunda metade do século XX, algumas tendências musicais procuraram lidar com o fenômeno da percepção temporal de forma independente dos demais elementos formativos do som, possibilitando a vivência de novas experiências musicais na qual a sobreposição dos parâmetros sonoros se tornou um importante elemento articulador da sensação temporal. Com a possibilidade de o compositor organizar o material composicional de forma autônoma, diversas composições apresentaram camadas sonoras construídas com defasagens, propiciando a ocorrência de politemporalidades a partir dos distintos parâmetros. Assim, entendendo que a música é capaz de organizar a sensação do tempo no ouvinte a partir dos eventos que a compõem, suscitando diversas possibilidades de articulação do tempo, esta pesquisa visa apresentar alguns processos utilizados no desdobramento do material sonoro de forma a possibilitar a vivência de diversas temporalidades sobrepostas. Para isso, serão apresentados brevemente alguns conceitos ligados às diversas definições dos fenômenos temporais segundo as perspectivas da física, da antropologia e da filosofia. Em seguida, serão expostas as ideias de alguns compositores do século XX escolhidos pela proeminência do aspecto temporal na sua produção musical e teórico-analítica, oferecendo um panorama de algumas tendências que fizeram uso da sobreposição de parâmetros sonoros ao longo do século passado. Serão enfatizados os conceitos expostas pelo compositor Henry Cowell (1996) sobre as possibilidades de sobreposições temporais e pelo compositor Karlheinz Stockhausen (1955) sobre o tempo experimentado a partir das organizações estruturais dos parâmetros sonoros da composição. Posteriormente, entendendo que essas questões estão ligadas sobretudo às composições multicamadas, alguns tipos de texturas polifônicas presentes em diversas tendências musicais do século XX serão apresentados segundo a perspectiva de Robert Strizich (1991). Depois, serão realizados breves apontamentos analíticos em cinco peças instrumentais compostas para formações de câmara entre os anos de 1992 e 2015, escolhidas por exemplificarem algumas possibilidades de elaboração temporal surgidas nas últimas décadas e apresentarem algumas das problemáticas discutidas nesta pesquisa. Por fim, constata-se que este repertório apresenta complexidades que podem ampliar as pesquisas no campo das ciências cognitivas, possibilitando o acesso a novas experiências perceptivas. O presente trabalho foi realizado com apoio da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - Brasil (CAPES) - Código de Financiamento 001.
From the second half of the twentieth century on, some musical tendencies sought to deal with the phenomenon of temporal perception independently of the other formative elements of sound, allowing the experience of new musical experiences in which the superposition of sound parameters became an important element of the temporal sensation. With the possibility of organizing the compositional material autonomously, several compositions presented sonic layers constructed with structural lags, allowing the occurrence of multiple temporalities from the different parameters. Thus, understanding that music is capable to organize the sensation of time in the listener from the musical events, provoking several possibilities of articulation of time, this research aims to present some processes used in the unfolding of the sound material in order to enable the experience of various superposed temporalities. For this, this research will briefly present some concepts related to the various definitions of temporal phenomena according to the perspectives of physics, anthropology and philosophy. Then, this work will present the ideas of some twentieth-century composers chosen by the prominence of the temporal aspect in their musical and theoretical-analytical production, offering an overview of some tendencies that made use of the superposition of sound parameters throughout the last century. It will be emphasized the concepts exposed by Henry Cowell (1996) on the possibilities of temporal superposition and by Karlheinz Stockhausen (1955) on the time experienced from the structural organizations of the sound parameters of the composition. Understanding that these questions relate mainly to multilayer compositions, some types of polyphonic textures present in several twentieth-century musical tendencies will be presented according to Robert Strizich's (1991) perspective. Later, this dissertation presents brief analytical notes on five instrumental pieces for small ensemble composed between 1992 and 2015, chosen to exemplify some temporal elaboration possibilities that have arisen in the last decades and to present some of the problems discussed in this research. Finally, we find that this repertoire presents complexities that can broaden the research in the field of cognitive sciences, allowing the access to new perceptive experiences. This study was financed in part by the Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - Brasil (CAPES) - Finance Code 001.
From the second half of the twentieth century on, some musical tendencies sought to deal with the phenomenon of temporal perception independently of the other formative elements of sound, allowing the experience of new musical experiences in which the superposition of sound parameters became an important element of the temporal sensation. With the possibility of organizing the compositional material autonomously, several compositions presented sonic layers constructed with structural lags, allowing the occurrence of multiple temporalities from the different parameters. Thus, understanding that music is capable to organize the sensation of time in the listener from the musical events, provoking several possibilities of articulation of time, this research aims to present some processes used in the unfolding of the sound material in order to enable the experience of various superposed temporalities. For this, this research will briefly present some concepts related to the various definitions of temporal phenomena according to the perspectives of physics, anthropology and philosophy. Then, this work will present the ideas of some twentieth-century composers chosen by the prominence of the temporal aspect in their musical and theoretical-analytical production, offering an overview of some tendencies that made use of the superposition of sound parameters throughout the last century. It will be emphasized the concepts exposed by Henry Cowell (1996) on the possibilities of temporal superposition and by Karlheinz Stockhausen (1955) on the time experienced from the structural organizations of the sound parameters of the composition. Understanding that these questions relate mainly to multilayer compositions, some types of polyphonic textures present in several twentieth-century musical tendencies will be presented according to Robert Strizich's (1991) perspective. Later, this dissertation presents brief analytical notes on five instrumental pieces for small ensemble composed between 1992 and 2015, chosen to exemplify some temporal elaboration possibilities that have arisen in the last decades and to present some of the problems discussed in this research. Finally, we find that this repertoire presents complexities that can broaden the research in the field of cognitive sciences, allowing the access to new perceptive experiences. This study was financed in part by the Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - Brasil (CAPES) - Finance Code 001.
Descrição
Palavras-chave
Temporalidade, Música dos séculos XX e XXI, Sobreposição de parâmetros, Análise musical, Temporality, Music of the 20th and 21st centuries, Superposition of parameters, Musical analysis