Criando “paletas” de sons: um estudo acerca das trilhas musicais de Antonio Pinto para o cinema nacional
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| Autor principal: | |
|---|---|
| Data de publicació: | 2021 |
| Format: | Master thesis |
| Idioma: | por |
| Font: | Repositório Institucional da UFG |
| Download full: | http://repositorio.bc.ufg.br/tede/handle/tede/11790 |
Sumari: | This research aims to discuss the creative and compositional process of musician Antonio Alves Pinto in the conception of soundtracks for Brazilian cinema. To this end, the work begins with a theoretical discussion based on the main authors of the studies of music in cinema, tracing a brief historical course since the main dramatic and narrative expressions that used music in the precinema era, according to Carrasco (2003), until the period of the Cinema da Retomada in Brazil, historical and geographical context in which the debut of the composer studied in musical works for the cinema took place. The dissertation will also undertake a filmic analysis of two Brazilian films (both directed by Walter Salles): Central Station (1998), with music score co-signed by Antonio Pinto; and Behind the Sun (2001), in which the musician composed the entire film score. The filmic analysis is guided by the precepts of Jacques Aumont and Michel Marie (2009) regarding the structure and purpose of this methodological approach, and regarding the observable aspects that refer specifically to the musical score, it uses the theories of Michel Chion (2011) - mainly, when considering the concept of "added value" of music as a filmic element; in addition to Claudia Gorbman (1987) - regarding the functions and principles of music based on the narrative style of classic American cinema. Starting from the understanding of the ways in which the creative and compositional process of the music producer Antonio Pinto is constituted in his works of soundtracks for cinema, the objective of the research is to understand how the interaction between his music and other elements of the cinematographic language stimulate effects of senses within the filmic narrative. The understanding that is reached through theoretical reflection and filmic analysis is that the musical work of Antonio Pinto preserves aspects of the North American classical film music, with reference to the classifications of Gorbman (1987), but innovates by incorporating elements such as the mixture of symphonic music with sound effects and Brazilian regional instruments, in addition to the use of minimalist musical structures and employment of few musical instruments in his works. |
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|---|---|
| author | Bilego, Arthur Arantes |
| author_browse | Bilego, Arthur Arantes |
| author_facet | Bilego, Arthur Arantes |
| author_role | author |
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| collection | Repositório Institucional da UFG |
| contributor_str_mv | Pavan, Ricardo Pavan, Ricardo Nogueira, Lisandro Magalhães Souza, Geórgia Cynara Coelho de |
| dc.contributor.advisor1.fl_str_mv | Pavan, Ricardo |
| dc.contributor.advisor1Lattes.fl_str_mv | http://lattes.cnpq.br/1247890099444160 |
| dc.contributor.author.fl_str_mv | Bilego, Arthur Arantes |
| dc.contributor.authorLattes.fl_str_mv | http://lattes.cnpq.br/6227161901869268 |
| dc.contributor.referee1.fl_str_mv | Pavan, Ricardo |
| dc.contributor.referee2.fl_str_mv | Nogueira, Lisandro Magalhães |
| dc.contributor.referee3.fl_str_mv | Souza, Geórgia Cynara Coelho de |
| dc.date.accessioned.fl_str_mv | 2021-12-27T15:30:02Z |
| dc.date.available.fl_str_mv | 2021-12-27T15:30:02Z |
| dc.date.issued.fl_str_mv | 2021-08-30 |
| dc.identifier.citation.fl_str_mv | BILEGO, A. A. Criando “paletas” de sons: um estudo acerca das trilhas musicais de Antonio Pinto para o cinema nacional. 2021. 147 f. Dissertação (Mestrado em Comunicação) - Universidade Federal de Goiás, Goiânia, 2021. |
| dc.identifier.uri.fl_str_mv | http://repositorio.bc.ufg.br/tede/handle/tede/11790 |
| dc.language.iso.fl_str_mv | por |
| dc.publisher.country.fl_str_mv | Brasil |
| dc.publisher.department.fl_str_mv | Faculdade de Informação e Comunicação - FIC (RG) |
| dc.publisher.initials.fl_str_mv | UFG |
| dc.publisher.none.fl_str_mv | Universidade Federal de Goiás |
| dc.publisher.program.fl_str_mv | Programa de Pós-graduação em Comunicação (FIC) |
| dc.relation.cnpq.fl_str_mv | 206 |
| dc.relation.confidence.fl_str_mv | 500 500 500 500 |
| dc.relation.department.fl_str_mv | 17 |
| dc.relation.program.fl_str_mv | 30 |
| dc.relation.sponsorship.fl_str_mv | 1 |
| dc.rights.driver.fl_str_mv | Attribution-NonCommercial-NoDerivatives 4.0 International info:eu-repo/semantics/openAccess |
| dc.source.none.fl_str_mv | reponame:Repositório Institucional da UFG instname:Universidade Federal de Goiás (UFG) instacron:UFG |
| dc.subject.cnpq.fl_str_mv | CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
| dc.subject.eng.fl_str_mv | Creative process Musical score Brazilian cinema Antonio Pinto Film analysis |
| dc.subject.por.fl_str_mv | Processo criativo Trilhas musicais Cinema nacional Antonio Pinto Análise fílmica |
| dc.title.alternative.eng.fl_str_mv | Creating "palettes" of sounds: a study of the soundtracks by Antonio Pinto for national cinema |
| dc.title.pt_BR.fl_str_mv | Criando “paletas” de sons: um estudo acerca das trilhas musicais de Antonio Pinto para o cinema nacional |
| dc.type.driver.fl_str_mv | info:eu-repo/semantics/masterThesis |
| dc.type.status.fl_str_mv | info:eu-repo/semantics/publishedVersion |
| description | This research aims to discuss the creative and compositional process of musician Antonio Alves Pinto in the conception of soundtracks for Brazilian cinema. To this end, the work begins with a theoretical discussion based on the main authors of the studies of music in cinema, tracing a brief historical course since the main dramatic and narrative expressions that used music in the precinema era, according to Carrasco (2003), until the period of the Cinema da Retomada in Brazil, historical and geographical context in which the debut of the composer studied in musical works for the cinema took place. The dissertation will also undertake a filmic analysis of two Brazilian films (both directed by Walter Salles): Central Station (1998), with music score co-signed by Antonio Pinto; and Behind the Sun (2001), in which the musician composed the entire film score. The filmic analysis is guided by the precepts of Jacques Aumont and Michel Marie (2009) regarding the structure and purpose of this methodological approach, and regarding the observable aspects that refer specifically to the musical score, it uses the theories of Michel Chion (2011) - mainly, when considering the concept of "added value" of music as a filmic element; in addition to Claudia Gorbman (1987) - regarding the functions and principles of music based on the narrative style of classic American cinema. Starting from the understanding of the ways in which the creative and compositional process of the music producer Antonio Pinto is constituted in his works of soundtracks for cinema, the objective of the research is to understand how the interaction between his music and other elements of the cinematographic language stimulate effects of senses within the filmic narrative. The understanding that is reached through theoretical reflection and filmic analysis is that the musical work of Antonio Pinto preserves aspects of the North American classical film music, with reference to the classifications of Gorbman (1987), but innovates by incorporating elements such as the mixture of symphonic music with sound effects and Brazilian regional instruments, in addition to the use of minimalist musical structures and employment of few musical instruments in his works. |
| eu_rights_str_mv | openAccess |
| format | masterThesis |
| id | UFG-2_c712e96eb6581c36bbce87fcc4ea7cd7 |
| identifier_str_mv | BILEGO, A. A. Criando “paletas” de sons: um estudo acerca das trilhas musicais de Antonio Pinto para o cinema nacional. 2021. 147 f. Dissertação (Mestrado em Comunicação) - Universidade Federal de Goiás, Goiânia, 2021. |
| instacron_str | UFG |
| institution | UFG |
| instname_str | Universidade Federal de Goiás (UFG) |
| language | por |
| network_acronym_str | UFG-2 |
| network_name_str | Repositório Institucional da UFG |
| oai_identifier_str | oai:repositorio.bc.ufg.br:tede/11790 |
| publishDate | 2021 |
| publishDateSort | 2021 |
| publisher.none.fl_str_mv | Universidade Federal de Goiás |
| reponame_str | Repositório Institucional da UFG |
| repository.mail.fl_str_mv | grt.bc@ufg.br |
| repository.name.fl_str_mv | Repositório Institucional da UFG - Universidade Federal de Goiás (UFG) |
| repository_id_str | oai:repositorio.bc.ufg.br:tede/1234 |
| rights_invalid_str_mv | Attribution-NonCommercial-NoDerivatives 4.0 International |
| spelling | Pavan, Ricardohttp://lattes.cnpq.br/1247890099444160Pavan, RicardoNogueira, Lisandro MagalhãesSouza, Geórgia Cynara Coelho dehttp://lattes.cnpq.br/6227161901869268Bilego, Arthur Arantes2021-12-27T15:30:02Z2021-12-27T15:30:02Z2021-08-30BILEGO, A. A. Criando “paletas” de sons: um estudo acerca das trilhas musicais de Antonio Pinto para o cinema nacional. 2021. 147 f. Dissertação (Mestrado em Comunicação) - Universidade Federal de Goiás, Goiânia, 2021.http://repositorio.bc.ufg.br/tede/handle/tede/11790This research aims to discuss the creative and compositional process of musician Antonio Alves Pinto in the conception of soundtracks for Brazilian cinema. To this end, the work begins with a theoretical discussion based on the main authors of the studies of music in cinema, tracing a brief historical course since the main dramatic and narrative expressions that used music in the precinema era, according to Carrasco (2003), until the period of the Cinema da Retomada in Brazil, historical and geographical context in which the debut of the composer studied in musical works for the cinema took place. The dissertation will also undertake a filmic analysis of two Brazilian films (both directed by Walter Salles): Central Station (1998), with music score co-signed by Antonio Pinto; and Behind the Sun (2001), in which the musician composed the entire film score. The filmic analysis is guided by the precepts of Jacques Aumont and Michel Marie (2009) regarding the structure and purpose of this methodological approach, and regarding the observable aspects that refer specifically to the musical score, it uses the theories of Michel Chion (2011) - mainly, when considering the concept of "added value" of music as a filmic element; in addition to Claudia Gorbman (1987) - regarding the functions and principles of music based on the narrative style of classic American cinema. Starting from the understanding of the ways in which the creative and compositional process of the music producer Antonio Pinto is constituted in his works of soundtracks for cinema, the objective of the research is to understand how the interaction between his music and other elements of the cinematographic language stimulate effects of senses within the filmic narrative. The understanding that is reached through theoretical reflection and filmic analysis is that the musical work of Antonio Pinto preserves aspects of the North American classical film music, with reference to the classifications of Gorbman (1987), but innovates by incorporating elements such as the mixture of symphonic music with sound effects and Brazilian regional instruments, in addition to the use of minimalist musical structures and employment of few musical instruments in his works.A pesquisa tem por intuito discorrer sobre o processo criativo e composicional do músico Antonio Alves Pinto na concepção de trilhas musicais para o cinema nacional. Para tanto, o trabalho parte de uma discussão teórica calcada nos principais autores dos estudos de música no cinema, traçando um breve percurso histórico desde as principais expressões dramáticas e narrativas que se utilizavam da música na era pré-cinema, de acordo com Carrasco (2003), até o período do Cinema da Retomada no Brasil, contexto histórico e geográfico em que se deu a estreia do compositor estudado em trabalhos musicais para o cinema. A dissertação empreenderá também o procedimento da análise fílmica em dois filmes nacionais (ambos dirigidos por Walter Salles): Central do Brasil (1998), com trilha musical co-assinada por Antonio Pinto; e Abril Despedaçado (2001), em que o músico compôs a trilha integral do filme. A análise fílmica tem como norte os preceitos de Jacques Aumont e Michel Marie (2009) quanto à estrutura e propósito dessa abordagem metodológica, e no que tange aos aspectos observáveis que remetem, especificamente, à trilha musical, utiliza as teorias de Michel Chion (2011) – principalmente, ao considerar o conceito de “valor acrescentado” da música enquanto elemento fílmico; além de Claudia Gorbman (1987) – a respeito das funções e princípios da música com base no estilo narrativo do cinema clássico norte-americano. Partindo da compreensão sobre os modos em que se constitui o processo criativo e composicional do produtor musical Antonio Pinto em seus trabalhos de trilhas musicais para o cinema, o objetivo da pesquisa é o de compreender como a interação entre sua música e outros elementos da linguagem cinematográfica estimulam efeitos de sentidos dentro da narrativa fílmica. O entendimento a que se chega com a reflexão teórica e a análise fílmica é de que o trabalho musical de Antonio Pinto conserva aspectos da música do cinema clássico norte-americano, tendo como referência às classificações de Gorbman (1987), mas inova ao incorporar elementos como a mistura de música sinfônica com efeitos sonoros e instrumentos regionais brasileiros, além do uso de estruturas musicais minimalistas e emprego de poucos instrumentos musicais em suas obras.Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESporUniversidade Federal de GoiásPrograma de Pós-graduação em Comunicação (FIC)UFGBrasilFaculdade de Informação e Comunicação - FIC (RG)Attribution-NonCommercial-NoDerivatives 4.0 Internationalinfo:eu-repo/semantics/openAccessProcesso criativoTrilhas musicaisCinema nacionalAntonio PintoAnálise fílmicaCreative processMusical scoreBrazilian cinemaAntonio PintoFilm analysisCIENCIAS SOCIAIS APLICADAS::COMUNICACAOCriando “paletas” de sons: um estudo acerca das trilhas musicais de Antonio Pinto para o cinema nacionalCreating "palettes" of sounds: a study of the soundtracks by Antonio Pinto for national cinemainfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesis30500500500500172061reponame:Repositório Institucional da UFGinstname:Universidade Federal de Goiás (UFG)instacron:UFGCC-LICENSElicense_rdflicense_rdfapplication/rdf+xml; charset=utf-8805http://repositorio.bc.ufg.br/tede/bitstreams/87c8ced1-40fb-4142-aa35-f0ab90888b5b/download4460e5956bc1d1639be9ae6146a50347MD52LICENSElicense.txtlicense.txttext/plain; charset=utf-81748http://repositorio.bc.ufg.br/tede/bitstreams/8f06b619-f08b-4cf1-8d87-7c594e3cb6f6/download8a4605be74aa9ea9d79846c1fba20a33MD51ORIGINALDissertação - Arthur Arantes Bilego - 2021.pdfDissertação - Arthur Arantes Bilego - 2021.pdfapplication/pdf4756197http://repositorio.bc.ufg.br/tede/bitstreams/b936693a-25bd-4a07-9a84-61cca92ec97c/downloadf5fe39325a13d5c710328688a4f925f3MD53tede/117902021-12-27 12:30:03.296http://creativecommons.org/licenses/by-nc-nd/4.0/Attribution-NonCommercial-NoDerivatives 4.0 Internationalopen.accessoai:repositorio.bc.ufg.br:tede/11790http://repositorio.bc.ufg.br/tedeRepositório InstitucionalPUBhttps://repositorio.bc.ufg.br/tedeserver/oai/requestgrt.bc@ufg.bropendoar:oai:repositorio.bc.ufg.br:tede/12342021-12-27T15:30:03Repositório Institucional da UFG - Universidade Federal de Goiás (UFG)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 |
| spellingShingle | Criando “paletas” de sons: um estudo acerca das trilhas musicais de Antonio Pinto para o cinema nacional Bilego, Arthur Arantes Processo criativo Trilhas musicais Cinema nacional Antonio Pinto Análise fílmica Creative process Musical score Brazilian cinema Antonio Pinto Film analysis CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
| status_str | publishedVersion |
| title | Criando “paletas” de sons: um estudo acerca das trilhas musicais de Antonio Pinto para o cinema nacional |
| title_full | Criando “paletas” de sons: um estudo acerca das trilhas musicais de Antonio Pinto para o cinema nacional |
| title_fullStr | Criando “paletas” de sons: um estudo acerca das trilhas musicais de Antonio Pinto para o cinema nacional |
| title_full_unstemmed | Criando “paletas” de sons: um estudo acerca das trilhas musicais de Antonio Pinto para o cinema nacional |
| title_short | Criando “paletas” de sons: um estudo acerca das trilhas musicais de Antonio Pinto para o cinema nacional |
| title_sort | Criando “paletas” de sons: um estudo acerca das trilhas musicais de Antonio Pinto para o cinema nacional |
| topic | Processo criativo Trilhas musicais Cinema nacional Antonio Pinto Análise fílmica Creative process Musical score Brazilian cinema Antonio Pinto Film analysis CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
| url | http://repositorio.bc.ufg.br/tede/handle/tede/11790 |