Em busca de uma hipermétrica formal: aplicação analítica e interpretativa ao quarto movimento da Sinfonia nº 4, Op. 98 de J. Brahms

• Ano de defesa: 2014
• Autor(a) principal: Marcos Antônio Silva Santos
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Análise musical; Hipermétrica; Forma musical; Segmentação por Entradas Ritmo e Métrica; Musica
• Link de acesso: http://hdl.handle.net/1843/AAGS-9Q3NU9

This research investigates musical macro temporal organization focusing on the concept of hypermeter. Specifically, it aims to analyze symphonic movements in order to discover a large-scale segmentation which is related to musical form. Departing from the term hypermeter, first employed by E. T. Cone, it covers a number of authors who have been approaching this concept within several varied contexts and different meanings. In this sense, David Smyth`s segmentation by initiation is a fundamental analytical technique for this research. In addition, recent approaches from cognitive psychology and musical theory help to establish a theoretical framework in which the analysis presented here will be based on. The ideas of Hasty, Deliège and Mélen and Kramer also serve as basis for the analysis of several examples by Beethoven, Schubert, Brahms, Mendelssohn and Schumann. In addition, a more comprehensive analysis of Brahms` Symphony No. 4, fourth movement is presented here in order to confirm the existence of a formal hypermeter derivated from the segmentation by initiation.