Criando “paletas” de sons: um estudo acerca das trilhas musicais de Antonio Pinto para o cinema nacional
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2021-08-30
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Universidade Federal de Goiás
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This research aims to discuss the creative and compositional process of musician Antonio Alves Pinto in the conception of soundtracks for Brazilian cinema. To this end, the work begins with a theoretical discussion based on the main authors of the studies of music in cinema, tracing a brief historical course since the main dramatic and narrative expressions that used music in the precinema era, according to Carrasco (2003), until the period of the Cinema da Retomada in Brazil, historical and geographical context in which the debut of the composer studied in musical works for the cinema took place. The dissertation will also undertake a filmic analysis of two Brazilian films (both directed by Walter Salles): Central Station (1998), with music score co-signed by Antonio Pinto; and Behind the Sun (2001), in which the musician composed the entire film score. The filmic analysis is guided by the precepts of Jacques Aumont and Michel Marie (2009) regarding the structure and purpose of this methodological approach, and regarding the observable aspects that refer specifically to the musical score, it uses the theories of Michel Chion (2011) - mainly, when considering the concept of "added value" of music as a filmic element; in addition to Claudia Gorbman (1987) - regarding the functions and principles of music based on the narrative style of classic American cinema. Starting from the understanding of the ways in which the creative and compositional process of the music producer Antonio Pinto is constituted in his works of soundtracks for cinema, the objective of the research is to understand how the interaction between his music and other elements of the cinematographic language stimulate effects of senses within the filmic narrative. The understanding that is reached through theoretical reflection and filmic analysis is that the musical work of Antonio Pinto preserves aspects of the North American classical film music, with reference to the classifications of Gorbman (1987), but innovates by incorporating elements such as the mixture of symphonic music with sound effects and Brazilian regional instruments, in addition to the use of minimalist musical structures and employment of few musical instruments in his works.
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BILEGO, A. A. Criando “paletas” de sons: um estudo acerca das trilhas musicais de Antonio Pinto para o cinema nacional. 2021. 147 f. Dissertação (Mestrado em Comunicação) - Universidade Federal de Goiás, Goiânia, 2021.