Kurze Schatten II

compositional procedures and aesthetic principles

Authors

DOI:

https://doi.org/10.35699/2317-6377.2022.36934

Keywords:

Analysis, Contemporary music, Music theory, Brian Ferneyhough, Guitar

Abstract

The article proposes an analysis of the guitar piece Kurze Schatten II by Brian Ferneyhough. The analysis aims to understand the compositional procedures and aesthetic principles of the composer, revealing an approximation with concepts from the thought of Gilles Deleuze, Felix Guattari and T. Adorno. By understanding the elements that manage the internal logic of the work, it is evident that the composer's serialist heritage, developed in the light of the Adornian concept of informal music, is present in the structural components of Kurze Schatten II and in the processuality of the creative gesture. The rupture with the traditional concept of unity perceived in the analysis originates a music of transformations, passages, approximations and contrasts, realized in a rhizomatic space operated by differences and impermanences. The technical analysis of the work brings to the forefront issues that are better understood in the light of these considerations of aesthetic order.

Downloads

Download data is not yet available.

Author Biographies

Artur Miranda Azzi, Frankfurt University of Music and Performing Arts (German)

Artur Miranda Azzi is a guitarist, composer and docent at the Hochschule für Musik und Darstellende Kunst Frankfurt, where he teaches guitar and chamber music. He holds a bachelor's degree from the Federal University of Minas Gerais, a postgraduate artistic degree from the Akademie für Tonkunst Darmstadt and a master's degree from the Hochschule für Musik und Darstellende Kunst Frankfurt. He performs regularly in various countries and is frequently invited to give lectures and masterclasses.

Rogério Vasconcelos Barbosa, Federal University of Minas Gerais

Rogério Vasconcelos Barbosa is a composer and professor at the School of Music at the Federal University of Minas Gerais (undergraduate and postgraduate), where he is dedicated to the areas of composition and music analysis. In his work, technological tools intimately participate in the genesis and unfolding of creative ideas. His production includes chamber pieces, orchestral and electroacoustic media. He has presented compositions in several events of national and international projection, in Belo Horizonte (MG), Ouro Preto (MG), Rio de Janeiro (RJ), Porto Alegre (RS), Londrina (PR), Curitiba (PR), Brasília (DF), Rosario (Argentina), Valdivia (Chile), Aveiro and Lisbon (Portugal).

References

Adorno, Theodor. 1986. Gesammelte Schriften in 20 Bänden. Frankfurt am Main: Suhrkamp Verlag.

Benjamin, Walter, 1972. Gesammelte Schriften. Frankfurt am Main: Suhrkamp Verlag.

Campolina, Eduardo, 2013. “A Técnica e os Processos Criativos no Século XX: Entre as artes visuais e a música”. Tese de Doutorado. Programa de pós-graduação em música, Universidade Federal de Minas Gerais, Belo Horizonte.

Castellani, Felipe M. 2009. “Análise da obra Kurze Schatten II de Brian Ferneyhough“. Per Musi 19: 24-34.

Castellani, Felipe M. 2010. “Uma abordagem sobre a noção de gesto musical nas poéticas de Luciano Berio e Brian Ferneyhough”. Dissertação de Mestrado. Programa de pós-graduação em música, Universidade Estadual de Campinas.

Castro-Magas, Diego. 2016. “Gesture, Mimesis and Image: Adorno, Benjamin, and the Guitar Music of Brian Ferneyhough“. TEMPO 70: 16-28.

Chaigne, Jean Paul. 2008. “La complexité de la musique de Brian Ferneyhough: Étude philologique et esthétique”. Tese de Doutorado. École doctorale Lettres, sciences humaines et sociales, Nice.

Deleuze, Gilles. 1981 Francis Bacon, Logique de la sensation. Paris: Editions de la Différence.

Deleuze, Gilles. 1988. Diferença e repetição. R. Janeiro: Graal.

Deleuze, Gilles. 1988 Le Pli. Paris: Minuit.

Deleuze, Gilles e Guattari, Felix. 1980. Mille Plateaux. Capitalisme et schizophrénie. Paris: Minuit.

Ferneyhough, Brian. 1990. Kurze Schatten II. Frankfurt am Main: Edition Peters.

Ferneyhough, Brian. 1998. Collected Writings. Abingdon: Routledge.

Ferneyhough, Brian. 1999. “La musique informelle: (à partir d’une lecture d’Adorno)“ in Brian Ferneyhough. Editado por Peter Szendy, 109-117 Paris: Harmattan.

Ferraz, Silvio. 1998. Música e Repetição. S. Paulo: EDUC/Fapesp.

Førisdal, Anders. 2017. Music of the Margins: Radically Idiomatic Instrumental Practice in Solo Guitar Works by Richard Barrett, Brian Ferneyhough, and Klaus K. Hübler. Oslo: NMH-publikasjoner.

Lévy, Pierre. 1996. O que é o Virtual? São Paulo: Editora 34.

Paul Sacher Stiftung. Coleção Brian Ferneyhough. Pasta Kurze Schatten II, 1984.

Strauss, Joseph. Introdução à Teoria Pós-Tonal. S. Paulo: Editora da Unesp, 2012.

Xenakis, Iannis. 1994. “Sur le Temps”. In: Kéleütha: Ecrits. Editado por Alain Galliari, 94-105 Paris: L´Arche.

Downloads

Published

2022-04-08

How to Cite

Azzi, Artur de Melo Miranda, and Rogério Vasconcelos Barbosa. 2022. “Kurze Schatten II: Compositional Procedures and Aesthetic Principles”. Per Musi, no. 42 (April):1-27. https://doi.org/10.35699/2317-6377.2022.36934.

Issue

No. 42 (2022): General Topics

Section

Articles in Portuguese/Spanish

License

Copyright (c) 2022 Per Musi

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

Licença Creative Commons
Except where otherwise noted, contents on this site are licensed under a  Creative Commons - Atribuição 4.0 Internacional.