Terra Selvagem, Lamentos da Terra, and Alternâncias

the octatonic component in the last three piano pieces by bruno kiefer

Authors

  • Cristina Capparelli Gerling Federal University of Rio Grande do Sul

DOI:

https://doi.org/10.35699/2317-6377.2001.57693

Keywords:

Bruno Kiefer, musical analysis, brazilian piano music, octatonic component, music performance

Abstract

During the recording of Bruno Kiefer's (1923-1987) complete works for piano, I noticed that the musical gestures in the last three plano pieces - Terra Selvagem, Lamentos da Terra e Alternâncias, shared a redundant interval content apparently derived from octatonic pitch collections. Each one of these musical and pianistic gestures was parsed and mapped into octatonic subsets with the use of "PCN", a computer program designed by Brazilian composer Jamary Oliveira (b.1944). The results shown in this paper confirmed my initial intuition as a performer.

Author Biography

  • Cristina Capparelli Gerling, Federal University of Rio Grande do Sul

    M.M., D.M.A., pianist and researcher, is a full professor of piano and a supervisor of master’s and doctoral theses in interpretative practices at the Federal University of Rio Grande do Sul. With significant involvement in the country’s musical and academic life, she has regularly published on musical analysis in Brazil and the United States. Recently, she released the CD Latin American Music for Piano in the INTERMÚSICAS series and organized the publication of series 5 of the Cadernos de Estudos Três Estudos Analíticos: Villa-Lobos, Mignone, and Camargo Guarnieri from the Graduate Program in Music at UFRGS.

References

BABBIT, Milton. "Twelve-Tone Invariants As Compositional Determinants". Musical Quarterly, v. XLVI n°2 (1960), p. 246-59.

BORDINI, Ricardo Mazzini. "O PCN, Um Breve Comentário." In: A Musica de Jamary Oliveira, p.143-47. Porto Alegre: Setor Gráfico do CPG-Música, 1994.

CARDASSI, Luciane. "A música de Bruno Kiefer: "Terra", Vento" e "Horizonte" e a poesia de Carlos Nejar". Porto Alegre, 1998, Dissertação (Mstrado em Música) UFRGS.

CHAVES, Celso Loureiro, "Na Intimidade da Sala De Aula", Cadernos Porto & Virgula, v. 6, Porto Alegre 1994, p. 77-83.

_____. "O todo do espelho a partir dos cacos", ZERO HORA, Porto Alegre, 8/IV, 1983, reproduzido do disco COLOQUIO, Conselho Estadual do Desenvolvimento Cultural, RS.

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

_____. "Debussy and the Octatonic." Music Analysis, X nº 1-2 (1991), 125-69.

GERLING, Cristina Capparelli. "Traços Característicos na música de piano de Bruno Kiefer". OPUS, ANPPОМ, 3, 1991, p. 75-80.

_____. "Música para Piano". Cadernos Porto & Virgula, v. 6, Porto Alegre 1994, p. 44-47.

KIEFER, Bruno. E a vida continua, obras para piano solo de Bruno Kiefer, Piano: Cristina Capparelli, Porto Alegre, FUNPROARTE, 1995.

LESTER, Joel. Analytic Approaches to Twentieth-Century Music. New York: Norton, 1989.

MORGAN, Robert. P. " On the Analysis of Recent Music". Critical Inquiry, Autumn 1977, p. 33-53.

RAHN, John. Basic Atonal Theory. New York: Longman, 1980.

STRAUS, Joseph. Introduction to Post Tonal Theory. Englewood Cliffs, New Jersey: Prentice Hall, 1990.

Downloads

Published

2001-01-07

Issue

No. 04 (2001): General Topics

Section

Articles in Portuguese/Spanish

License

Copyright (c) 2001 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.

How to Cite

“Terra Selvagem, Lamentos Da Terra, and Alternâncias: The Octatonic Component in the Last Three Piano Pieces by Bruno Kiefer”. 2001. Per Musi, no. 04 (January): 52-71. https://doi.org/10.35699/2317-6377.2001.57693.

Most read articles by the same author(s)