Texto musical dialógico : contribuições para a criação musical ampliadas pelas lentes conceituais bakhtinianas

• Ano de defesa: 2014
• Autor(a) principal: Benassi, Claudio Alves
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Mato Grosso; Brasil; Instituto de Linguagens (IL); UFMT CUC - Cuiabá; Programa de Pós-Graduação em Estudos de Cultura Contemporânea
• Palavras-chave em Português: Criação musical; Requíem para os pássaros mortos em abril; Exotopia, responsabilidade e acabamento; Flauta doce; Bakhtin; CNPQ::LINGUISTICA, LETRAS E ARTES; Musical creation; Requiem for the birds killed in april; Exotopy, responsibility and finishing process; Recorder
• Link de acesso: http://ri.ufmt.br/handle/1/423

The recorder disappeared from the music scene and, was later, brought back to life. Disseminated through education, it became popular and gained the status of professional instrument. Currently, its massive usage causes its reception to be filled with prejudice and discredit. It is necessary to broaden its repertoire so that the current musical practices are contemplated. In this perspective, this research aims to collaborate to the expansion of the repertoire of contemporary music for recorders, conceiving a piece for recorder and orchestra, using its expanded techniques and applying the concepts of exotopy, responsibility and finishing process of the Russian thinker and humanist Mikhail Bakhtin. Throughout the studies, a mouthpiece of the recorder which fits the body of the flute has been tested, analyzed and documented in an article publication and in this work. An analysis was performed in the works of my own in order to view the application of the selected concepts and their possible application in musical conception. The work Requiem for the birds killed in April was conceived under the perspective of the concepts of exotopy, responsibility and finishing process, having as thread the number 9 that, in Pythagorean numerology, is considered the number of the initiates. The piece is divided into 9 parts, and uses the spiritist literary work Birds killed in April to name each of them, which is configured as a cronoexotopic movement. The piece also takes elements from other important works as a motive for its enunciation. This recollection, besides turning the piece into a responsible re-enunciation, through analytical apprehension and appreciation/finish process, shows a transit of going to the place of the other and returning to the place of the unique and irreplaceable I. Then it is concluded that the dialogical musical text Requiem for the birds killed in April presents characteristics which are exotopical and responsible, and analytical/appreciative finishing process in its conception. It is considered a dialogic text under Bakhtin's perspective, because the voices of the author-creator, author-man, author-researcher and author researched, make up a dialogue that brings with it also, the voices of other authors.