Federal University of Mato Grosso, Brazil; firstname.lastname@example.org; email@example.com
INTERTEXTUALITY NETWORKS FOR A NEW COMPOSITION: ARTICULATIONS, INTERRELATIONSHIPS, AND EMERGENCES THROUGH LISTENING
In music, the idea of intertextuality produces an immersion in musical creation, through an analysis of previous compositions. In this proposal, we will present the intertextuality process in the commission by the guitarist Teresinha Prada to the Brazilian composer Danilo Rossetti of a mixed work for classical guitar: Ondas-Sombras-Reflexos (2022), which dialogues with L’Oiseau-Lyre (1982), by Portuguese composer Jorge Peixinho, since the Brazilian guitarist had been researching particularities of plucked strings between Portugal and Brazil. Peixinho was an avantgarde composer and founder of the Grupo de Música Contemporânea de Lisboa and L’Oiseau-Lyre is a seminal work in the history of the instrument due to the link between the idiomatic idealization of plucked strings and the poetics of its creator. In L’Oiseau-Lyre, harmonic structure and melodic cells are outlined in a post-tonal system, whose musical flux defines the sections from the generating cell, and how Peixinho’s compositional gestures add modernity to the weight of the instrument’s tradition. The question that arises in this proposal is how the notion of intertextuality can overcome the writing of the instrumental score and spread through other sonic means in a mixed work. Our hypothesis is that it occurs through an active listening carried out with operational features, searching for articulations and transversal connections within the same work or between works, identifying structures and layers that relate and interconnect each other, and creating individual listening relationships. This may be the case of Ondas-sombras-reflexos, a musical work in which the intertextuality with the work of Peixinho exists in at least two manners: 1) in the electronic fixed media, whose materials used derive from recordings of the 1982 piece, in mirroring with the plucked strings and traces of the Iberian musical culture in this injunction, and 2) in the guitar instrumental writing, which contains intertextual elements that appear in Rossetti’s work derived from the work of Peixinho, mainly regarding the instrumental gestures and extended techniques used. Both cases will be detailed in the presentation. This proposal intends to present Ondas-sombras-reflexos and bring contributions to the musical performance area based on intertextuality studies, which enabled to resume L’Oiseau-Lyre to problematize issues of performance, composition, and listening questions and relationships. As the methodology to address the question proposed, initially the set of compositional processes, interpretative decisions, and collaborative techniques used to prepare the performance will be exposed, presenting the scores involved. Next, specific analyses with systematic methods of both the scores and recordings will be carried out, using computer-aided tools based on audio descriptors, generating graphical representations alternatives to the musical score. Based on the study of intertextuality and the analyzes that articulate the two compositions, seeking a conclusion, it is proposed to discuss whether the networks and layers of intertextuality between the two works give conditions to the emergence of new forms of signification from the relationships created, such as an enactive listening, considering the notion of enaction proposed by Varela (1994).
Keywords: Intertextuality; Listening; Creative Processes.
Teresinha Prada (Brazilian researcher and classical guitarist) – Bachelor of Music in Performance: Classical Guitar, São Paulo State University (UNESP); Master Degree in Communication and Culture, Latin American Integration Program, University of São Paulo (PROLAM / USP); PhD in Social History, Faculty of Philosophy, Letters and Human Sciences, University of São Paulo (FFLCH / USP); Titular Professor, the Faculty of Communication and Arts, Federal University of Mato Grosso (FCA/UFMT); Classical Guitar Professor at FCA/UFMT and Doctoral Advisor in the Postgraduate Program in Studies of Contemporary Culture (UFMT); Member and Postdoctoral researcher of the Caravelas Research Group, CESEM / UNL; author of the books “Guitar: from Villa-Lobos to Leo Brouwer” (2008) and “Gilberto Mendes: avant-garde and utopia in the southern seas” (2010).
Danilo Rossetti Composer and researcher with focus in the use of technology and interdisciplinary research in creative processes and musical analyses performances, Danilo Rossetti is author of musical works for different formations (solo or ensembles), acousmatic, live electronics and multi-modal (audiovisual installations, music and dance, networked and telematic music), and author and coauthor of several articles concerning creative processes in music and musical analyses. He is Assistant Professor at the Department of Arts of the Federal University of Mato Grosso, and collaborator professor at the Graduate Music Studies Program of the Institute of Arts at the State University of Campinas. He earned his Ph.D in Music Composition at UNICAMP, with a research stage at the Centre de Recherche Informatique et Création Musicale (CICM) of Paris 8 University, and he completed a postdoctoral research at NICS-UNICAMP, funded by FAPESP. His compositions have been played in many international events and festivals.