Análise e realização de 4 leadsheets do Calendário do Som de Hermeto Pascoal segundo os conceitos harmônicos de Arnold Schoenberg: uma abordagem do calendário do som segundo os conceitos harmônicos de Schoenberg

• Ano de defesa: 2006
• Autor(a) principal: Fabiano Araujo Costa
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Hermeto Pascoal; Música erudita; Arnold Schoenberg; Pascoal, Hermeto, 1936- Calendário do som; Harmonia (Música); Schoenberg, Arnold, 1874-1951; Pascoal, Hermeto, 1936-
• Link de acesso: http://hdl.handle.net/1843/GMMA-7XQFZ4

This study looks at the convergencies between the harmonic procedures in popular music, as expressed by the music of Hermeto Pascoal - a Brazilian composer born in 1936, and in classical music as represented by the harmonic theory of Arnold Shoenberg (1874- 1951) - Austrian composer who brought about a significant change in the music panorama in the 20th century. Four pieces were selected from Calendario do Som a set of 366 sheet music created for each day of the period between June 1996 and June 1997. The selected pieces - June 23rd1996, August 9th 1996, June 9th 1997 and November 14th 1996 - have stood out for the variety of the harmonic paths chosen by Pascoal. A careful analysis of the unique features of Pascoal's leadsheet was carried out together with a review of literature onthe concepts of Schoenberg's harmonic analysis (monotonality, expanded tonality, fluctuating and suspended tonality, transformation, substitution, regions, intermediary regions and vagrant chords). SCHOENBERG's treatises (1999, 2004, 2001) and the studies of DUDEQUE (1997, 2005), TINÉ (2002), SALZER (1982) were also researched. In order to study the concepts, tools and symbologies of popular music (chord scale, sheet music, analitycal symbolism) the contributions of CHEDIAK (1986), FREITAS (1995), GUEST (1996) and FARIA (1991) were also explored. This study points to the advantage of this kind of analysis for the reading of sheet music - such as Calendario do Som's, which is deceitfully simple and yet holds a great deal of harmonic complexity. Four elaborated works are presented with the use of excerpts of pieces at 2, 3, 4 and 5 voices, pathways found to contemplate both texturing and voicing.