Parsimonious relations between Guitar Textural Proposals

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Authors

  • Bernardo Ramos Pinto Universidade Federal do Rio de Janeiro
  • Pauxy Gentil-Nunes Universidade Federal do Rio de Janeiro

DOI:

https://doi.org/10.33871/23179937.2020.8.3.1.1

Keywords:

Composition, Acoustic Guitar, Musical Texture, Musical Analysis, Leo Brouwer

Abstract

Guitar Textural Analysis is an analytical proposal devised for the composition for the guitar that exposes the relations between the textural structure and the technical procedures used in the instrumental performance. The Guitar Textural Proposals (GTPs) are the specific configurations extracted in this analytical process. In the present work, the focus remains on recognizing parsimonious movements between GTPs, that is, minimal distinctions between patterns of use of the instrument combined with respective textural configurations. Parsimoniousness is defined in the context of Developing Variation, Neo-Riemannian Theory, and Partitional Analysis. Previous works by Fabio Adour and authors Sérgio Freire and Pedro Cambraia present perspectives on the relation between texture and guitar performance. Leo Brouwer's series of progressive pieces Études Simples is adopted as a reference. The work results in a proposal for a ordered network of technical-textural configurations connected by parsimonious relations.

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Author Biographies

Bernardo Ramos Pinto, Universidade Federal do Rio de Janeiro

Guitarist, composer, arranger. Bachelor's Degree in classical guitar, Master Degree in Composition and PhD student at the Federal University of Rio de Janeiro. Member of the research group MusMat. Continuous activity in the fields of Brazilian music and contemporary jazz. Rocinante Records' artist since 2019. First prize at the Guarulhos instrumental festival (2008). Participation as composer and guitarist in many albums, among them: Bamboo (Brasilianos, 2010) and Overture (2012) with Bamboo Group, Gesto (Spiral Music, Japan, 2016). Member of Idriss Boudrioua's Base and Brass since 2018. "Cangaço" (Rocinante Records, 2019) is his most recent work as leader. ORCID: https://orcid.org/0000-0002-0710-3745

Pauxy Gentil-Nunes, Universidade Federal do Rio de Janeiro

Composer and flutist. Master Degree in Composition and Doctor Degree in Musical Language and Structure. Professor or Harmony, Analysis and Composition in School of Music of Federal University of Rio de Janeiro. Continuous activity and many musical works performed and recorded in Brazil and overseas. Resident composer of ABSTRAI Ensemble in the 2012 season with support of the Secretary of Culture of Rio de Janeiro State. Guest composer of the 2012 season of the group of composers Preludio 21. Prized twice with commissions for Contemporary Brazilian Music Biennials – 2013 and 2015 by National Foundation of Arts – FUNARTE. Participation, in 2015, as panelist and composer, in EXPO 2015 Milano, and in I Virtuosi XXI Century Festival, in Recife. Works on CDs National Symphony Orchestra plays Today Composers (2016) and Trio Paineiras plays Today Composers (2017). Participation in International Festival RC4 with his autoral concert, Liberjongo (2017). Member of ABSTRAI Ensemble since 2011. Member of the composers group Preludio 21 since 2019. ORCID: https://orcid.org/0000-0001-6810-9609

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Published

2020-12-15

How to Cite

Pinto, B. R., & Gentil-Nunes, P. (2020). Parsimonious relations between Guitar Textural Proposals. Vortex Music Journal, 8(3), 1.1. https://doi.org/10.33871/23179937.2020.8.3.1.1

Issue

Vol. 8 No. 3 (2020): Vortex Music Journal

Section

Research Papers

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Copyright (c) 2021 Bernardo Ramos Pinto, Pauxy Gentil-Nunes

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