Contrasting noises and expanding sounds: the composition process of Caminantes I to IV

Visualizações: 77

Autores

  • Igor Leão Maia

DOI:

https://doi.org/10.33871/23179937.2018.6.2.2606

Resumo

This article explores some of the compositional techniques of a cycle of four pieces called Caminantes. Firstly, it comments on the importance of timbre and texture, the starting point for my own creation of material and its articulation. In this part, the contributions of different composers of the 20th Century are discussed, in order to contextualise the ideas and techniques used in the composition of the Caminantes cycle. Then there is an analysis of the compositions from the point of view of form, extended techniques, harmony, microtonality and indeterminacy. The analysis is aided by digital audio analysis, i.e. spectrograms as well as by sections of the score.

Downloads

Não há dados estatísticos.

Biografia do Autor

Igor Leão Maia

Igor L. Maia is a Brazilian composer and conductor. He holds a PhD in music composition from King's College London, supervised by Prof. Silvina Milstein and Prof. George Benjamin, with support from the Capes Foundation (Brazil). He has a bachelor in music composition from the Royal Conservatory of the Hague and a master of music from the State University of Campinas (Unicamp, Brazil), supervised by Prof. Silvio Ferraz and with a scholarship from the São Paulo Research Foundation (Fapesp, Brazil). Igor's compositions employ complex timbre-structures and sonorities, using extended techniques and microtonality for expressive and sensuous purposes, evoking exotic sound-worlds. His compositions have been performed throughout Europe, the Americas and Japan. As a conductor, he has performed in Brazil, Germany, Holland, Spain and the UK and was Assistant Conductor of the King's College London Symphony Orchestra (KCLSO) and Associate Conductor of the Goodensemble, Goodenough College (London, UK). E-mail: igorleaomaia@gmail.com

Referências

BERRY, Wallace. Structural Functions in Music. New York: Dover Pub. Inc., 1987.

CROSS, Jonathan. The Stravinsky legacy. Cambridge: Cambridge University Press, 2005.

DUNSBY, Jonathan. Considerations of Texture, Music & Letters, Oxford, v. 70, n. 1, 46-57, 1989. DOI: https://doi.org/10.1093/ml/70.1.46

FINEBERG, Joshua. Spectral Music. Contemporary Music Review, Amsterdam, v. 19, n. 2, 1-5, 2000. DOI: https://doi.org/10.1080/07494460000640221

KACZYNSKI, Tadeusz. Conversations with Witold Lutosławski, London: J. & W. Chester/Edition Wilhelm Hansen London Ltd., 2012.

KLEIN, Michael. Texture, Register, and Their Formal Roles in the Music of Witold Lutosławski. Indiana Theory Review, Bloomington, v. 20, n. 1, 37-70, 1999.

MATTIS, Olivia. Varèse and Dada. In: LEGGIO, James (Org.) Music and Modern Art. New York: Routledge, 2002.

MACHADO, Antonio. Campos de Castilla, Madrid: Ediciónes Cátedra, 1986.

MAIA, Igor. Caminantes I. Paris: Babel Scores, 2010. Score.

MAIA, Igor. Caminantes II. Paris: Babel Scores, 2011. Score.

MAIA, Igor. Caminantes III. Paris: Babel Scores, 2013. Score.

MAIA, Igor. Caminantes IV. Paris: Babel Scores, 2015. Score

MIRKA, Danuta. To cut the Gordian knot: the timbre system of Krzystof Penderecki. Journal of Music Theory, New Haven, v. 45, n. 2, 435-456, 2001. DOI: https://doi.org/10.2307/3653444

MURAIL, Tristan. Scelsi, De-composer. Contemporary Music Review, London, v. 24, n. 2/3, 173-180, 2005. DOI: https://doi.org/10.1080/07494460500154822

NONKEN, Marilyn. The Spectral Piano. Cambridge: Cambridge University Press, 2014. DOI: https://doi.org/10.1017/CBO9781139088152

PADOVANI, José Henrique; FERRAZ, Silvio. Proto-história, evolução e situação atual das técnicas estendidas na criação musical e na performance. Revista Musica Hodie, Goiânia, v. 11, n. 2, 11-35, 2011.

RYAN, David. Composer in Interview: Helmut Lachenmann. Tempo, New Series, n. 210, 20-25, 1999. DOI: https://doi.org/10.1017/S0040298200007154

SCHOENBERG, Arnold. Theory of Harmony. Oakland: University of California Press, 1978.

SINGLETON, Philip. A survey of the consequences for contemporary composition of the French Spectral School of the 1970s and 1980s, Thesis, Department of Music and Media, University of Surrey, Surrey, 2015.

TEXTURE. Grove Music Online. Oxford Music Online, Oxford University Press, accessed July 12, 2017, http://0-www.oxfordmusiconline.com.catalogue.libraries.london.ac.uk/subscriber/article/grove/music/27758.

VARÈSE, Edgard; WEN-CHUNG, Chou. The Liberation of Sound. Perspectives of New Music, v. 5, n. 1, 11-19, 1966. DOI: https://doi.org/10.2307/832385

WHITTALL, Arnold. The Cambridge introduction to serialism. Cambridge: Cambridge University Press, 2008.

Downloads

Publicado

01.09.2018

Como Citar

Maia, I. L. (2018). Contrasting noises and expanding sounds: the composition process of Caminantes I to IV. Revista Vórtex, 6(2). https://doi.org/10.33871/23179937.2018.6.2.2606

Edição

Seção

Artigos

Métricas