Postmodern characteristics in the work Rimsky by Brazilian composer Gilberto Mendes

Authors

  • Vera Lúcia Rocha Pedron Peres University of São Paulo (USP) (Brazil)

Keywords:

Gilberto Mendes, Rimsky, Quintet, Postmodernism, Musical syntax, Musical discontinuity, Musical pluralism, Musical fragmentation, Musical quotation

Abstract

Postmodernism in music still needs criteria to facilitate its understanding, such as traits like fragmentation, discontinuity, quotation, juxtaposition of styles and pluralism. This study aims at demonstrating the postmodern characteristics in the work Rimsky by Brazilian composer Gilberto Mendes by means of analysing its existing references and having in mind the procedures that organize postmodern assumptions and musical compositions. Besides the identification of paradigmatic elements, and in order to surpass a simply inductive approach (restrictive because of its synchronic nature), it tries to connect the work to modernism (in both criticism and extended fields), emphasizing its differences in syntax, epistemology and ideology. The conceptual limits that make it closer and apart from modernism are discussed as an attempt to contribute to the reflection about the art today.

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Author Biography

Vera Lúcia Rocha Pedron Peres, University of São Paulo (USP) (Brazil)

Graduated in History at FFLCH (USP) and Master in Arts (Music in Music Creation Processes program at ECA - USP) under the guidance of Prof. Dr. Rogério Luiz Moraes Costa. She studied harmony and aesthetics with Prof. Hans-Joachim Koellreutter and piano with professors Sebastina Benda, Caio Pagano, Amílcar Zani and Nahim Marun.

References

ADORNO, Theodor W. – “O fetichismo na música e a regressão da audição”. In: Coleção Os pensadores -Textos Escolhidos. São Paulo: Nova Cultural, 1999, p.65-198.

BENJAMIN, Walter – “A obra de arte na era da reprodutibilidade técnica”. In: Obras Escolhidas - Magia, Técnica, Arte e Política. São Paulo: Editora Brasiliense,1996, v. 1.

BOURDIEU, Pierre – La distinction - critique sociale du jugement. Paris: Les Éditions de Minuit,1979.

BRACKETT, David – “Where ́s It Art”: Postmodern Theory and the Contemporary Musical Field. In: LOCHHEAD, Judy and AUNER, Joseph – Postmodern Music/Postmodern Thought. New York: Routledge, 2002, p.207-231.

COELHO DE SOUZA, Rodolfo – Encarte do CD Gilberto Mendes – piano solo – Rimsky.

BURGER, Peter – “O declínio da Era Moderna”. In: Novos Estudos CEBRAP no. 20,, março de 1988, p.81-95

CALABRESE, Omar – A Idade Neobarroca. Lisboa: Edições 70, 1988.

DELEUZE, Gilles e GUATTARI, Félix – O que é a Filosofia? São Paulo: Editora 34, 2004.

________ - Mil Platôs – Capitalismo e Esquizofrenia. São Paulo: Editora 34, 2004, vol. 1, 3 e 4.

EAGLETON, Terry – As ilusões do pós-modernismo. RJ: Jorge Zahar Ed., 1998.

HUTCHEON, Linda – Poética do Pós-Modernismo – História. Teoria. Ficção. Rio de Janeiro: Imago, 1991.

MENDES, Gilberto – Uma odisséia musical – dos mares do sul à elegância pop/art déco. São Paulo: EDUSP, 1994.

TEIXEIRA COELHO – Moderno pós Moderno - modos e versões. São Paulo: Iluminuras,2001.

Partituras:

MENDES, Gilberto – Rimsky, 27 p.(partitura com escrita de próprio punho do autor).

RIMSKY-KORSAKOV, Nikolai – Sheherazade – Suite Sinfonica op.35 (redução para piano) de Teodor Fuchs. Buenos Aires: Ricordi Americana, 59 p.

________ - Quinteto em Si bemol Maior (op.post.) – para piano, flauta, clarineta, trompa, fagote. New York: International Music Company, 64 p.

Published

2010-07-05

How to Cite

Peres, Vera Lúcia Rocha Pedron. 2010. “Postmodern Characteristics in the Work Rimsky by Brazilian Composer Gilberto Mendes”. Per Musi, no. 22 (July):1-20. https://periodicos.ufmg.br/index.php/permusi/article/view/44473.

Issue

Section

Articles in Portuguese/Spanish