Multifônicos ao fagote: estudo de caso da obra “Cantares para Airton Barbosa” de Aylton Escobar

• Ano de defesa: 2016
• Autor(a) principal: Tavares, Lamartine Silva
• Orientador(a): Costa, Carlos Enrique
• Banca de defesa: Costa, Carlos Henrique , Linhares, Robervaldo, Souza, Valdir Caires de
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Goiás
• Programa de Pós-Graduação: Programa de Pós-graduação em Musica (EMAC)
• Departamento: Escola de Música e Artes Cênicas - EMAC (RG)
• País: Brasil
• Palavras-chave em Português: Fagote; Multifônicos; Técnica estendida; Aylton Escobar
• Palavras-chave em Inglês: Bassoon; Multiphonics; Extended technique; Aylton Escobar
• Área do conhecimento CNPq: ARTES::MUSICA
• Link de acesso: http://repositorio.bc.ufg.br/tede/handle/tede/6624

In this research we address multiphonics sounds in bassoon. Our objective was to investigate technical support for the performance of Cantares para Airton Barbosa by Aylton Escobar, because the lack of knowledge about the technique for the emission of these sounds precludes this performance. We conducted primarily a bibliographic study of methods that address the technique for issuing multiphonics sounds. Later we proceeded a technical and interpretive study of Escobar's work, based on studies of the previous phase. Finally, our goal was to diagnose the real technical extensions required for the issue of multiphonics. For this, we compared the instructions for fingering, embouchure and air pressure of Weissenborn´s method 1887, the reference to traditional bassoon technique, with the instructions found on modern methods, which address the multiphonics, as the methods of Bartolozzi (1967), Penazzi (1971), Gallois (2009) and Sampson (2004). After conducting this research, we concluded that the materials presented here, provide sufficient technical support for the performance of multiphonics present in Cantares. However, we observed different results in different types of materials, which shows the need to test by the performer. We also conclude that for the issue of multiphonics sounds there were technical extensions fingering, at the mouth and in the field of air pressure in relation to the Weissenborn instructions for the performance of the bassoon.