Percussion solo parts in Rogerio Duprat’s Antinomies I

Authors

DOI:

https://doi.org/10.35699/2317-6377.2023.48632

Keywords:

Antinomies I, Rogério Duprat, Graphic scores, Multi-percussion, Percussion notation

Abstract

This article aims to analyse the solo percussion parts in Antinomies I, written for chamber orchestra by Brazilian composer Rogério Duprat (1932–2006) in 1962. Characterised by its graphic notation, the composer uses indeterminacy to lead the orchestra into an unconventional paradigm of sound creation. The analysis focuses on the percussionist's range of choices in order to understand how they affect the macro and microstructural elements of the work. There is considerable scope for choices in the percussion part of Antinomies I, which requires the use of "multi-percussion". Eight of the thirty-two circular structures that form the score are percussion solos. It is a significant number, greater than any other individual instrumentalist from the chamber orchestra. These circles form a heterogeneous group with different degrees of indeterminacy whose analysis reveals the interpretive process of transforming a graphic score into percussion sounds.

Author Biography

  • Ricardo Stuani, University of Canterbury, New Zealand

    PhD from the University of Canterbury (New Zealand). He holds a Master's degree in Musicology from UNESP, under the supervision of Prof. Dr. Carlos Stasi, where he also studied for a Bachelor's degree in Music with a major in Percussion. He was a member of the UNESP Institute of Arts Percussion Group (PIAP group) from 1989 to 1992; From 1991 to 1997 he was a member of the Experimental Repertoire Orchestra, where he worked on works from the orchestral repertoire and also Brazilian popular music; He took part in the staging of the play Mistérios Gozozos, by Oswald de Andrade, directed by José Celso Martinez Correa; In 1991 he won 1st place in composition and 2nd place in interpretation with the piece ? Um Coração Bate na Curva do Rio? in the Ritmo e Som competition organized by UNESP; Participated in the VII Eldorado Music Prize in 1995 organized by Rádio Eldorado, as a soloist, with her own compositions; From 1997 to 1999 she lived in Rotterdam, Holland, where she studied at the Rotterdam Conservatory in the Latin Music department. He has had the opportunity to appear as a drummer and percussionist in concerts, events and shows in nightclubs and jazz clubs in the cities of Amsterdam, Rotterdam, The Hague, Utrecht and Delft, among others.In Germany, in cities such as Berlin, Bonn, Cologne and Nuremberg.In Slovenia in Ljubljana and Postojna. Based in Portugal from 1999 to 2008, he performed as a drummer and percussionist in various cities in Portugal, as well as in Spain and the Azores islands; Music Educator at the Guri Project in São Paulo from August 2009 to 2013. Percussion educator at the Fábricas de Cultura project run by the São Paulo State Government since 2013. Participated in the production of the musical "Eu sou o Samba? by Carlinhos de Jesus, at the Santa Cruz Theater in September 2009; Participated in the production of "O Rei e Eu? by Jorge Takla, at the Alfa Theater, from January to May 2010; In 2008, in partnership with Itamar Vidal, he had the play ?Passes Mágicos? performed at an event for those selected for the RUMOS Itaú Cultural Award - Homage Category, at Unicamp, Campinas (SP); Selected for the RUMOS Itaú Cultural Award - Homage Category 2010-2012; He was awarded a scholarship by CAPES.

References

Barro, Maximo. 2009. Rogério Duprat: ecletismo musical. Coleção aplauso, Série música. Series coordinated by Rubens Edwald Filho. São Paulo: Imprensa Oficial do Estado de São Paulo.

Dierstein, Christian; Roth, Michel & Ruland, Jens. 2018. The Techniques of Percussion Playing / Die Spieltechnik des Schlagzeugs: Mallets, Implements and Applications / Schlägel, Anreger und Anwendungen. Kassel: Baerenreiter-Verlag.

Duprat, R. 1966. Antinomies I. Washington: Pan American Union Washington.

Gaúna, R. 2002. Rogério Duprat: sonoridades múltiplas. São Paulo: Editora Unesp.

Labrada, L. 2014. Possibilidades e Categorias de Exploração Tímbrica: considerações sobre as relações intérprete/instrumento na Performance. Thesis (Doctorate in Music). São Paulo: Universidade Estadual Paulista Júlio de Mesquita Filho (UNESP).

Stuani, R. 2015. A escrita para percussão dos compositores do Grupo Música Nova: a busca pelo novo analisada a partir da notação. Dissertation (Master in Music). São Paulo: Universidade Estadual Paulista Júlio de Mesquita Filho (UNESP).

Vidal, I. 2022. Antinomies I: a partitura perdida de Rogério Duprat. Thesis (Doctorate in Music). Campinas: Universidade Estadual de Campinas.

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Published

2023-12-11

Issue

Vol. 24 (2023): General Topics

Section

Thematic Session RePercussions

License

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How to Cite

“Percussion Solo Parts in Rogerio Duprat’s Antinomies I ”. 2023. Per Musi 24 (December): 1-21. https://doi.org/10.35699/2317-6377.2023.48632.