Aspectos técnico-interpretativos nas “Três Tocatas Armoriais” para violão solo de Danilo Guanais: novos caminhos da música armorial
This paper is a study about the technical-interpretative aspects in “Três Tocatas Armoriais,” whose author is the Potiguar Danilo Guanais (1965 –). “Três Tocatas Armoriais” is a work for solo guitar and is divided into three movements: Romance do Boi da Mão de Pau, Poema Negro and O Admirável Vôo do...
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| Formato: | Dissertação |
| Idioma: | por |
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| Endereço do item: | https://repositorio.ufrn.br/jspui/handle/123456789/22302 |
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| Resumo: | This paper is a study about the technical-interpretative aspects in “Três Tocatas Armoriais,” whose author is the Potiguar Danilo Guanais (1965 –). “Três Tocatas Armoriais” is a work for solo guitar and is divided into three movements: Romance do Boi da Mão de Pau, Poema Negro and O Admirável Vôo do Pavão Misterioso. It was made, according to Guanais, under the updated conception of Armorial Music. In order to understand what is the "updated version of Armorial Music", as the composer says, we tried to present a contextualization of Armorial Music, since its initial production, with the beginnings of the Armorial Movement, until the production of the song by current composers who proposed to compose Armorial Music using elements and procedures of 20th and 21st century music. We also present a brief discussion about the dichotomy of conception established by Ariano Suassuna and Cussy de Almeida, and its contribution, with the duality of thoughts, for the later production of Armorial Music. In methodology it was used an interview with de composer, analysis and study of the work, and some references as Santos (2009), Marinho (2010) and Queiroz (2014). The aim of this paper is to show elements that enable the interpreter to perform it as close as possible to the composer's conception. As results we present information about the conception presented by the composer, without in-depth discussion, in which the author affirms to produce his works from elements that are characterized as an "updated version of Armorial Music.” The materials used for the construction of the work are presented at the last chapter and were the literatures that motivated the coposer in the production of the plays; the philosophical elements present in “Três Tocatas Armoriais”, especially in the last movement, O Vôo Admirável do Pavão Misterioso, which suggests the imagery of a machine trying to fly. It was also presented an analysis of the melodic material, the application of the pedal note, which is a characteristic of the music of the guitar players used in Armorial Music, and some technical-interpretative suggestions of the work. |
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