A relação do compositor-intérprete no desenvolvimento da técnica para percussão
The purpose of this research is to investigate how the composer-performer is related to the developement of the technique and idiomatismo of the percussion instruments in concert music. Its main focus is the repertory for multiple percussion. The percussion instruments started being protagonists of...
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| Tipo de recurso: | tesis de maestría |
| Estado: | Versión publicada |
| Fecha de publicación: | 2013 |
| País: | Brasil |
| Institución: | Universidade Federal de Minas Gerais (UFMG) |
| Repositorio: | Repositório Institucional da UFMG |
| Idioma: | portugués |
| OAI Identifier: | oai:repositorio.ufmg.br:1843/AAGS-9HJN9P |
| Acceso en línea: | http://hdl.handle.net/1843/AAGS-9HJN9P |
| Access Level: | acceso abierto |
| Palabra clave: | Música Performance Percussão Performance musical Musica Música para percussão |
| Sumario: | The purpose of this research is to investigate how the composer-performer is related to the developement of the technique and idiomatismo of the percussion instruments in concert music. Its main focus is the repertory for multiple percussion. The percussion instruments started being protagonists of a repertory, since the first half of XX Century, having as important mark the work lonisation, from the French composer Edgar Varese. Since then, many composers started to write for percussion. With that, it became necessary the development of techniques and methodologies for the performance of this kind of repertory. Then the performers that were also used to compose had a big collaboration on the development of the technique and of the idiomatismo of the different instruments. This study had as its focus the analysis and performance of works from composer-performers that were importante on the creation and developement of the methodologies and techniques for the instruments. The works of two composer-performers were chosen to make part of this study, they are: The brazilian Carlos Stasi and the North American Michael Udow. From Stasis literature were analyzed the Works Canção Simples para Tambor (1990) and Ilusão, besides his Método para reco-reco (1991) and from Udows were analyzed the work Bog Music and o Método para percussão múltipla - The Contemporary Percussionist. The following parameters were considered for the analysis: notation, melodic thought apllied for multiple percussion, methodologies development for performance, extension of the technique and pedagogic thought related to the performance. |
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