Música para trompa e sixxen, de Estércio Marquez Cunha: resultados sonoros na colaboração entre compositor e intérprete

• Ano de defesa: 2017
• Autor(a) principal: Silva, Anderson Afonso
• Orientador(a): Cardoso, Antonio Marcos Souza
• Banca de defesa: Cardoso, Antônio Marcos Souza, Rosa, Robervaldo Linhares, Lopes, Maico Viegas, Cunha, Estércio Marquez
• 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: Interpretação musical; Colaboração musical; Música contemporânea para trompa; Estércio Marquez Cunha
• Palavras-chave em Inglês: Musical interpretation; Musical collaboration; Contemporary music for horn; Estércio Marquez Cunha
• Área do conhecimento CNPq: ARTES::MUSICA
• Link de acesso: http://repositorio.bc.ufg.br/tede/handle/tede/7291

This work is the result of an experience acquired in the study of composer-interpreter relations, under the performer's view. The central axis of this research is to develop, along with Estércio Marquez Cunha, new possibilities of the horn resources in relation to the Sixxen. Firstly, a bibliographical study of the collaborative role between interpreters and composers, referenced in BRANDINO 2012, ISHISAKI and MACHADO 2013, RAMOS 2013, RAY 2013 and ROSSI and BARBOSA 2015, is undertaken to understand the collaboration path of these two crucial pieces for the making of music. For its novelty in Brazil, the second part is dedicated to the Sixxen, investigating about conception, repertoire and its trajectory until Goiânia, with support in the study done by MORAIS, CHAIB and OLIVEIRA, 2016. For the optimization of the research, the third part is intended in the report of the experience in the course of the collaboration of this researcher as an interpreter with the composer. In this part, the specificities of sound effects in the horn are demonstrated and instructed in how the composer idealized the work in question by virtue of the experiments performed with the interpreter. The main results that the research brings is the contribution of the world contemporary repertoire for both instruments, evidenced through the language of the composer in question and thus have generated an explanatory didactic material for the techniques extended in the horn.