Vastness of Six Small Pictures (1981) by Bruno Kiefer

a study of its intervallic structure, musical gestures and possible relationships with other works by the composer

Authors

DOI:

https://doi.org/10.35699/2317-6377.2010.45536

Keywords:

Bruno Kiefer, Musical gestures, Set theory, Analysis

Abstract

The present article offers an analysis of the musical gestures and intervallic configurations of the composition Vastness, which belongs to the set entitledSix Small Pictures (1981) for piano by Brazilian composer Bruno Kiefer. The recurring musical gestures from other of Kiefer’s compositions, previously surveyed by Luciane CARDASSI (1998), as well as the presence of octatonic elements, are studied and related to preceding Kiefer’s works. Set theory by Allan Forte is applied here as a theoretical basis. The density of the gestures observed in this late piece, and its brevity, point to a stylistic synthesis.

Author Biographies

  • Germano Gastal Mayer, Federal University of Pelotas (UFPel) (Brazil)

    Bachelor in Music (2003) and Master in Interpretive Practices (2005) from the Federal University Federal University of Rio Grande do Sul with a grant from CAPES. He was a substitute teacher at the Federal University of Pelotas (2005- 2007) 2007), collaborator professor at the School of Music and Fine Arts of Paraná (2007), and instructor pianist at the Bolshoi Theater School Bolshoi Theater School in Brazil (2008). Parallel to these activities, he has been performing as a chamber pianist and soloist in the south of the country. Since the beginning of 2009, he is a member of the permanent teaching staff at the UFPEL Conservatory of Music, where he teaches piano and theoretical subjects.

  • Any Raquel Carvalho, Federal University of Rio Grande do Sul (UFRGS) (Brazil)

    D. in Music and M.A. in Music from the University of Georgia (Athens, Georgia, USA). É Associate Professor in the Graduate Program in Music and in the Music Department of the Arts Institute of the Federal University of Rio Grande do Sul (UFRGS), where she teaches organ, counterpoint and fugue. He is also a lecturer and organ and organist in Brazil and abroad. He has two books published on counterpoint: Manual de Contraponto Modal (Editora Evangraf, 2nd ed., 2006) and Manual de Contraponto Tonal e Fuga (Novak Multimidia, 2002). As a researcher of CNPq researcher, she works in the area of interpretive practices, including Brazilian music for organ and counterpoint.

References

ALBUQUERQUE, Armando. Apresentação e Análise dos Movimentos. In: Tríptico (piano – 1969). Editora da Ufrgs. Porto Alegre. Cadernos de música/1, 1972. 1 partitura.

CARDASSI, Luciane. A música de Bruno Kiefer: “terra”, “vento”, “horizonte” e a poesia de Carlos Nejar. Dissertação – Mestrado – UFRGS-PPGMUS. Porto Alegre. 1998.

CHAVES, Celso Loureiro: Apresentação. In. Terra Selvagem. Editora da Universidade. Cadernos de música/3. Porto Alegre. 1982.

FORTE, Allen. The Structure of Atonal Music. New Haven. Yale University press, 1973.

GERLING, Cristina C.. Traços característicos na música para piano de Bruno Kiefer. Opus. v. 3 n. 3, p. 75-80. Porto Alegre. set. 1991.

_________. ‘Terra Selvagem’, ‘Lamentos da Terra’ e ‘Alternâncias’: o componente octatônico nas últimas três peças para piano de Bruno Kiefer. In: PER MUSI. v. 4, p. 52 – 71, Belo Horizonte. 2001.

LAITANO, Yanto & GERLING, Cristina. Análise da música “Em Poucas Notas...” de Bruno Kiefer segundo a Teoria dos Conjuntos de Allen Forte. Disponível em: http://www.ex-machina.mus.br/welcome.htm. Acesso em: 28 out. 2008.

PERSICHETTI, Vincent. Twentieth-Century Harmony. New York, Norton & Company, Inc.1961.

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Published

2010-01-01

Issue

No. 21 (2010): General Topics

Section

Articles in Portuguese/Spanish

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How to Cite

“Vastness of Six Small Pictures (1981) by Bruno Kiefer: A Study of Its Intervallic Structure, Musical Gestures and Possible Relationships With Other Works by the Composer”. 2010. Per Musi, no. 21 (January): 1-9. https://doi.org/10.35699/2317-6377.2010.45536.