Particularidades da percussão múltipla na música solo e de câmara mista de Iannis Xenakis
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2014-04-25
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Universidade Federal de Goiás
Resumo
This research is organized in two parts: A – Artistic production and B – Paper. The first part
presents the programs and the program notes of the concerts held on August 23, 2013 and
April 25, 2014. The second part presents the paper, which aims to study the use of multiple
percussion in Iannis Xenakis solo and mixed chamber music, identifying and discussing
performance characteristics of this set of works as well as idiosyncratic elements of
percussion written by this composer. The paper begins with the concept of multiple
percussion, historically situates the percussion in Western classical music during the twentieth
and twenty-first centuries, and underscores the importance of Iannis Xenakis as a composer
for this new lineage of percussion. The paper also proposes an approach to the works in which
there is one percussionist playing multiple percussion set-ups, in solo or mixed chamber
music context. Thus, the selected works are: Psappha (1975), Dmaathen (1976), Komboï
(1981), Kassandra (1987), Oophaa (1989), Rebonds (1987/89) and Plektó (1993). After
delimiting the repertoire to be studied, this paper identifies and discusses four characteristics
of the works: (1) instrumentation, (2) the use of polyrhythms, (3) issues relating to the
impossibilities in Xenakis’ music and (4) the use of polyphonic textures. The discussion
section suggests traits that characterize the composer’s writing, identifying elements of
recurrent use in various works, developing benchmarks, proposing technical solutions and
developing interpretive conceptions that seek to contribute in the preparation of the
performance of this set of works.
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Citação
PEREIRA, L. S. Particularidades da percussão múltipla na música solo e de câmara mista de Iannis Xenakis. 2014. 55 f. Dissertação (Mestrado em Música) - Universidade Federal de Goiás, Goiânia, 2014.