Seminários de Processos Criativos I

Seminários de Processos Criativos I (MUD701) – Ementa

Obrigatória / 45 horas-aula / 3 créditos

Introdução panorâmica às diversas subáreas da pesquisa em composição musical e práticas interpretativas, com apoio em bibliografia que contemple as principais linhas de investigação e seus autores exponenciais, bem como os quadros teóricos e metodológicos da subárea.

REFERÊNCIAS

ANDERSON, N. Baroque Music – from Monteverdi to Handel. Thames and Hudson Ltd., 1994.

ANDREWS, George. The theory of partitions. Cambridge: Cambridge University, 1984.

BADURA-SKODA, Paul. Interpreting Mozart on the keyboard. New York: Martins Press.

BERRY, Wallace. Structural functions in music. New York: Dover, 1987.

BOWEN, José A. The history of remembered innovation: tradition and its role in the relationship between musical works and their performances. The Journal of Musicology, Vol. 11, No. 2. (Spring, 1993), pp. 139-173.

BREGMAN, Albert S. Auditory scene analysis: the perceptual organization of sound. Cambridge, MA: MIT Press, 1999.

BROWN, Howard Mayer et all. Performing Practice. The New Grove Dictionary of Music and Musicians (2000).

CHION, Michel. L’art des sons fixés ou la musique concrètement. Fontaine: Éditions Metamkine, 1991.

COOK, Nicholas. Analysing Performance and Performing Analysis, In: COOK, Nicholas & EVERIST, Mark (eds.), Rethinking Music. Oxford: Oxford University Press, 1999, pp. 239-61.

DAVIES, Stephen. Musical meaning and expression. Ithaca: Cornell University Press, 1994.

DUPRAT, Regis. Musicologia e Interpretação: teoria e prática. I Encontro em Música da Universidade Estadual de Maringá, Paraná. Anais… Maringá: Massoni, 2002, pp. 21-34.

FREIRE, Vanda (Org.). Horizontes da Pesquisa em Música. Rio de Janeiro: Editora 7 Letras, 2010.

GIVAN, Benjamin. Duets for one: Louis Armstrong’s vocal recordings. Musical Quarterly (Summer 2004) vol. 87 no. 2: 188-218.

GRISEY, Gérad. Structuration des timbres dans la musique instrumentale. Le timbre, métaphore pour la composition. Paris: IRCAM / Christian Bourgois Éditeur, 1991.

KALLBERG, Jeffrey. The rethoric of genre: Chopin’s Nocturne in G minor. 19th-Century Music, vol. 11 no. 3 (Spring 1988): 238-261.

KERMAN, Joseph. Cap. 6 – The historical performance movement. Contemplating Music: Challenges to Musicology. Cambridge, Mass.: Harvard University Press, 1985. Trad. port. Musicologia. São Paulo: Martins Fontes, 1987.

LERDAHL, Fred & JACKENDOFF, Ray. A generative theory of tonal music. Cambridge: MIT, 1996.

LESTER, Joel. Analytic approaches to twentieth-century music. New York: W. W. Norton, 1989.

MORRIS, Robert D. Composition with pitch-classes: a theory of compositional design. Yale: Yale University, 1987.

RINK, John (org.). The practice of performance: Studies in musical interpretation. Cambridge University Press; New Edition, 2005.

RINK, John. Chopin’s improvisatory music: style, structure, aesthetic. Ostinato rigore, 15 (2000): 7-17.

ROADS, Curtis. The computer music tutorial. Cambridge (MASS): MIT Press, 1995.

SIMON, Emmerson (ed.). The language of electroacoustic music. Londres: Macmillan, 1986.

SCRUTON, Roger. The aesthetics of music. New York: Oxford University Press, 1997.

SLOBODA, John. The musical mind. New York: Oxford University Press, 1985.

ZBIKOWSKI, Lawrence. Conceptualizing music: cognitive structure, theory, and analysis. New York: Oxford University Press, 2002.

SAMSON, Jim. The music of Chopin. Oxford: Clarendon Press, 1985.

WINTER, S. Orthodoxies, Paradoxes, and contradictions: performance practices in nineteenth-century piano music. In: TODD, R. L. Nineteenth century piano music: routledge studies in musical genres. New York: Routledge. 2004.