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Advisor(s)
Abstract(s)
O presente estudo tem como objetivo principal dar um contributo no âmbito do
uso de código musical pré-existente complexo em contextos criativos, propondo uma
sistematização na abordagem composicional.
A razão do interesse pela criação de uma obra musical usando material alheio,
de forma a este não ser relacionado com a sua fonte, começou desde o início dos estudos
superiores, no âmbito da composição musical.
Querer debruçar-se e aprofundar a obra do compositor Jorge Peixinho (1940-
1995), visto este ter sido um pioneiro em Portugal na segunda metade do séc. XX, ao
reunir diversas fontes alheias numa mesma obra, ou seja, redes intertextuais, prendeuse
com o facto de este identificar nos seus textos o uso de diversas fontes alheias, e,
auditivamente, estas consistirem num reconhecimento de forma verdadeiramente
enigmática. O próprio Peixinho identificava este fenómeno como procura de uma
“espécie de vínculos secretos”, interagindo com o material, através de técnicas e/ou
sistemas arquitetónicos de forma musicalmente intricada e pouco explícita, com o
intuito de alcançar como objetivo último a aplicação personalizada desta ideia na
própria obra.
A existência de uma pluralidade de técnicas e abordagens composicionais com
o uso de material pré-existente que não só lhe concede um papel complexo, mas,
recapitulando o pensamento de Peter Szendy, apresenta igualmente uma discussão
epistemológica e musicológica de grande atualidade (2001). Assim sendo, e partindo
de uma revisão bibliográfica prévia, foi possível refletir, elaborar, aplicar e promover
uma proposta taxonómica de reutilização musical.
Partido do princípio que todas as obras musicais dialogam com o seu passado
de forma consciente ou inconsciente por parte do criador, a questão orientadora à qual
a presente investigação pretendeu dar resposta foi a seguinte: como pode o compositor
aplicar material alheio e diversificado numa mesma composição original de forma
consciente, de maneira a que este se torne irreconhecível e não cause desequilíbrio ou
instabilidade na própria obra?
Tendo em conta a natureza do contexto, a problemática, as questões de estudo e
os objetivos enunciados, optou-se por uma perspetiva não convencional da investigação, na procura de novos territórios do avanço do conhecimento científico
através da implementação de novo conhecimento refletindo sobre a própria prática
artística, uma Practice-Based Research (Hasar, A., et al., 2009). Este projeto pretendeu
incluir o artista e o cientista no percurso analítico, utilizando uma direção metodológica
que se apoia na observação como participante, na qual o próprio observador participa e
reflete igualmente sobre a sua atividade.
O percurso metodológico teve a intenção de entrelaçar o conhecimento
alcançado ao examinar um conjunto de obras de Jorge Peixinho identificadas no corpus
analítico, nas quais a problemática em causa se encontra em evidência. Ao nível prático,
procurou analisar e sintetizar o conhecimento teórico obtido no campo analítico,
facultando e inspirando uma proposta de uma prática original, direcionada para a
questão orientadora deste estudo.
As oito obras musicais apresentadas pretenderam inventar as “maneiras”
(Nunes, 2011) de Nuno Peixoto de Pinho, enquanto compositor, demonstrando um
crescimento contínuo e solidificação das diferentes técnicas e aproximações
idiomáticas que se relacionam direta ou indiretamente com as mesmas observadas na
obra de Peixinho. Este foi o responsável por proporcionar ao autor-investigador a
ocasião de pôr em prática sugestões de pensamento artístico singular, sempre
influenciado por inevitáveis e justificados epígonos.
The present study seeks to ascertain the effectiveness of pre-existent complex musical code in creative contexts, proposing systematization in the compositional approach. The artist’s interest in creating a musical piece based on others’ material, with a view to ensuring that it cannot be connected with its source, dates from the beginning of higher education in the context of musical composition. The desire to address and deepen the work of the composer Jorge Peixinho (1940-1995), a pioneer during the second half of the twentieth century in Portugal, when he chose to gather several outside sources in the same work, namely intertextual networks, is directly related to the fact that he identifies the application of several outside sources in his texts, and aurally, these consist in a truly enigmatic recognition form. Peixinho himself identified this phenomenon as searching for “some kind of secret bonds”, interacting with the material through several techniques and/or architectural systems of intricate and non-explicit musical forms, with the purpose of achieving the ultimate objective of customizing the application of this idea in the work itself. The existence of a plurality of techniques and compositional approaches resorting to the use of pre-existing material, not only bestows it a complex role, but recapping Peter Szendy’s thoughts, equally presents an extremely topical (2001) epistemological and musicological discussion. Therefore, and based on a previous bibliographical review, it was possible to reflect, elaborate, implement and promote a taxonomic proposal of musical reuse. Based on the assumption that every musical work dialogues with its past consciously or unconsciously through the hand of its composer, the leading question to which the present research intended to attain an answer, was the following: how is it possible for a composer to consciously include outside and diverse material in the same original composition, and in such a manner that it becomes unrecognizable and does not cause imbalance and instability in the work itself? Taking into account the nature of the context, problem, study issues and the referred objectives, it was opted for an unconventional perspective of the research, exploiting new territory in the advancement of scientific knowledge, through the implementation of new data resulting from the reflection of our own artistic practise, a Practice-Based Research (Hasar, et al., 2009). This project sought to include the artist and the scientist in its analytical course, using a methodological approach which is based on the observation as a participant, and where the observer himself participates and equally reflects on his own activity. The methodological approach intended to intertwine the knowledge achieved by examining a set of Jorge Peixinho’s works identified in the analytical corpus, in which the issue in question was evident. At the practical level, it sought to analyse and synthesize the theoretical knowledge obtained in the analytical field, providing and inspiring the proposal of a unique practice, directed towards the leading question of this study. The eight submitted musical works intended to devise the “manners” (Nunes, 2011) of Nuno Peixoto de Pinho as a composer, reflecting a continued growth and consolidation of the different techniques and idiomatic approaches that are directly and indirectly related with those observed in Peixinho’s work. The composer was responsible for providing the author-researcher with the opportunity to implement suggestions of unique artistic thinking, always influenced by unavoidable and justified epigones.
The present study seeks to ascertain the effectiveness of pre-existent complex musical code in creative contexts, proposing systematization in the compositional approach. The artist’s interest in creating a musical piece based on others’ material, with a view to ensuring that it cannot be connected with its source, dates from the beginning of higher education in the context of musical composition. The desire to address and deepen the work of the composer Jorge Peixinho (1940-1995), a pioneer during the second half of the twentieth century in Portugal, when he chose to gather several outside sources in the same work, namely intertextual networks, is directly related to the fact that he identifies the application of several outside sources in his texts, and aurally, these consist in a truly enigmatic recognition form. Peixinho himself identified this phenomenon as searching for “some kind of secret bonds”, interacting with the material through several techniques and/or architectural systems of intricate and non-explicit musical forms, with the purpose of achieving the ultimate objective of customizing the application of this idea in the work itself. The existence of a plurality of techniques and compositional approaches resorting to the use of pre-existing material, not only bestows it a complex role, but recapping Peter Szendy’s thoughts, equally presents an extremely topical (2001) epistemological and musicological discussion. Therefore, and based on a previous bibliographical review, it was possible to reflect, elaborate, implement and promote a taxonomic proposal of musical reuse. Based on the assumption that every musical work dialogues with its past consciously or unconsciously through the hand of its composer, the leading question to which the present research intended to attain an answer, was the following: how is it possible for a composer to consciously include outside and diverse material in the same original composition, and in such a manner that it becomes unrecognizable and does not cause imbalance and instability in the work itself? Taking into account the nature of the context, problem, study issues and the referred objectives, it was opted for an unconventional perspective of the research, exploiting new territory in the advancement of scientific knowledge, through the implementation of new data resulting from the reflection of our own artistic practise, a Practice-Based Research (Hasar, et al., 2009). This project sought to include the artist and the scientist in its analytical course, using a methodological approach which is based on the observation as a participant, and where the observer himself participates and equally reflects on his own activity. The methodological approach intended to intertwine the knowledge achieved by examining a set of Jorge Peixinho’s works identified in the analytical corpus, in which the issue in question was evident. At the practical level, it sought to analyse and synthesize the theoretical knowledge obtained in the analytical field, providing and inspiring the proposal of a unique practice, directed towards the leading question of this study. The eight submitted musical works intended to devise the “manners” (Nunes, 2011) of Nuno Peixoto de Pinho as a composer, reflecting a continued growth and consolidation of the different techniques and idiomatic approaches that are directly and indirectly related with those observed in Peixinho’s work. The composer was responsible for providing the author-researcher with the opportunity to implement suggestions of unique artistic thinking, always influenced by unavoidable and justified epigones.
Description
Keywords
Musical borrowing Reutilização musical Jorge Peixinho Citação musical Intertextualidade Análise musical Composição Musical reuse Music quotation Intertextuality Music analysis Composition