The Timbres: the poetics of sound

Handel's saraband in Barry Lyndon

Authors

DOI:

https://doi.org/10.33871/19805071.2022.27.2.6927

Keywords:

Movie, Music, Soundtrack

Abstract

The film Barry Lyndon by Stanley Kubrick (1975) has become one of the reference works of cinema. The soundtrack is impeccable, with works ranging from baroque to romanticism, as well as traditional music from the countries involved in the 7 Years' War. From Handel to Vivaldi, from Schubert to Rossini and traditional and official Irish music, such as Women of Ireland and Prussian music such as Lilliburlero, Pfifes and Drums - what can be heard in Kubrick's film is a polyphony of timbres. The Sarabanda, probably composed between 1703 and 1706, by Georg Friedrich Handel is a particularly attractive case, as in addition to functioning as a kind of leitmotiv of the protagonist's moments, it uses different timbres in all its entries. The sarabande still has

an important technical resource that, which suggests to the spectator moments of tension, apprehension and continuity: the anacrusis. This resource is normally used in music and, as a soundtrack, it becomes an essential factor for the tension before the two duels.

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Author Biography

Mauricio Monteiro, Federal University of Paraíba/ DEMUS/ Postdoctoral

Mauricio Monteiro holds a Master's and a PhD from the University of São Paulo. Author of the books “A Constru-ção do Gosto” (2008) and “Music and daily life in Minas Gerais” (2018), as well as several articles on musicology, music and audiovisual. He has two other books in press: “Timbres, the body of sound – Trajectory and Symbology of Musical Instruments” and “João de Souza Lima: a Brazilian in Paris”. There are two more in the pipeline: “Music as a language in audiovisual” and “The ingenious moralities: tonalism and the colonization of Latin America”. Winner of the 2008 APCA Prize, co-participant with a text about music in the time of D. João VI, music curator (shows and CD) of the book “FESTA: Cultura e Sociabilidade na América Portuguesa”, winner of the Jabuti Prize in 2002 Registered with DRT as Music Director and Programmer DJ (nº 244831 SP), according to DRT/SP process nº 46219002842/0483). Professor for 30 years, having taught classes for high school, university and lato and strictu sensu post-graduation. He was a guest professor at PUC/SP and UNICAMP. At Universidade Anhembi Morumbi, he taught for 16 years for undergraduate courses in Cinema, Radio, Television and Internet, Advertising and Electronic Music. For cinema, he taught Soundtrack; for RTVI, Sound Language and Communication Research Methods (He was coordinator of the TCC processes for 10 years and author of the Project Writing and TCC Preparation Manual); for Publicity and Propaganda, he taught Sound Production in Radio and, for the Electronic Music course, he taught Music Theory, Theories of Music Composition and Soundtrack. He was a member of the Board of Trustees of Fundação Padre Anchi-eta (RTV Cultura). He was music director, coordinator, producer, commentator and programmer for Rá-dio Cultura FM in São Paulo and presenter on TV Cultura. He also worked as a collaborator for Folha de São Paulo. He was also a music consultant for advertising, evaluating soundtracks for plagiarism and fraud (Africa and Mission Music). He wrote the soundtrack for plastic arts exhibitions (CCBB, São Paulo, Rio de Janeiro and Brasília). Author of several radio series highlighting different themes. He teaches courses on music and cinema and on music in Brazil.

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Descrição da imagem de capa: Cartaz vertical de divulgação, com imagem abstrata que assemelha-se a um papel amassado em cores que vão do cinza claro ao marrom, com o centro mais nítido e as laterais desforcadas. Do lado direito do cartaz, em letras rosas e brancas sobre a imagem: "Revista científica de Artes da Faculdade de Artes do Paraná. Julho a Dezembro de 2022. Volume 27, número 2". E logo abaixo, com maior destaque: "Dossiê, Arte e Acessibilidade. Conceitos e Práticas em aproximação". Fim da descrição.

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Published

2022-12-16

How to Cite

MONTEIRO, Mauricio. The Timbres: the poetics of sound: Handel’s saraband in Barry Lyndon. Revista Cientí­fica/FAP, Curitiba, v. 27, n. 2, p. 304–327, 2022. DOI: 10.33871/19805071.2022.27.2.6927. Disponível em: https://periodicos.unespar.edu.br/revistacientifica/article/view/6927. Acesso em: 3 jul. 2024.

Issue

Vol. 27 No. 2 (2022): Dossier Art and accessibility: concepts and practices in proximity

Section

Seção Outros temas

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