Tese
As canções de câmara de Radamés Gnattali: diálogos composicionais e brasilidade
Fecha
2022-11-10Autor
Luísa Vogt Cota
Institución
Resumen
The thesis aims to understand the compositional dialogues and Brazilianness in
Radamés Gnattali's songs for singing and piano. For this purpose, we sought to
intertwine the composer's trajectory, his speeches and his chamber songs. The
corpus chosen for this work is twenty songs (one of them a cycle of three songs)
for singing and piano in handwritten scores, autograph handwritten as well as
songs that were published. These scores were gathered during the research in
collections, libraries as well as through contact with the composer's own
collection, which is managed by his family. For work research and musical
performance, these songs underwent an interpretive edition. The tripartite model
of musical semiology, by Jean Molino, developed by Jean-Jacques Nattiez
brought to the discussion of the thesis the relationship between author, work and
performer for the interpretation of Radamés Gnattali's chamber songs. The
theoretical framework in Mikhail Bakhtin enabled us to elucidate the issue of
Radamés Gnattali's authorship as well as the dialogic relations of the composer's
utterances, of his experiences, of the historical aspects of his time, of the poets
who were partners in his songs. From the Bakhtinian perspective, we can see the
reflection of the contexts lived by Gnattali in his songs, but also the creation of
the composer about situations of the society in which he lived. There is a principle
of alterity, in the sense of reflecting, but also refracting, musical meanings through
their songs. The Brazilianness can be identified in the songs not only through
characteristics of national music brought by modernist thought, such as rhythms
and melodies existing in Brazilian popular music, and poems that refer to Brazil,
but also through a more plural and more connected with the professional reality
of Radamés Gnattali..The songs make it possible to reflect on the composer's
trajectory and on his deviations – what goes beyond the idea of linearity and welldefined
concepts. These reflections also allowed the performer the ability
to create images and choose sounds and interpretations for the performance of
Radamés Gnattali's chamber song, as well as establish dialogues with the
composer. Gnattali's compositional forms allow re-readings and resignifications
of her chamber songs for contemporary times.