A presente pesquisa propõe uma análise musical da obra Vai e Vem, escrita para coro misto, tape, ... more A presente pesquisa propõe uma análise musical da obra Vai e Vem, escrita para coro misto, tape, toca-discos e instrumentação variável opcional por Gilberto Mendes em 1969. Situada na segunda fase da produção musical de Mendes (denominada “período experimental” ou “de vanguarda”), essa composição revela muitas das influências que o compositor absorveu a partir de seus contatos com Olivier Toni; com outros jovens compositores brasileiros que, junto a ele, assinaram o Manifesto Música Nova em 1963; com os Poetas Concretos brasileiros (Décio Pignatari, Haroldo de Campos, Augusto de Campos, José Lino Grünewald, entre outros) e com compositores europeus de vanguarda que ele conheceu nos Cursos de Darmstadt que frequentou nos anos de 1962 e 1968.
This research proposes a musical analysis of the experimental work Vai e Vem, written for mixed choir, tape player, turntable and optional variable instrumentation by Gilberto Mendes in 1969. Situated in the second phase of Mendes’ musical production (called “Avant-Garde” or “experimental period”), this work reveals lots of the influences the composer has taken from his contacts with Olivier Toni; with other Brazilian young composer that, with him, have signed up the Manifesto Música Nova in 1963; with the Brazilian Concrete Poets (Décio Pignatari, Haroldo de Campos, Augusto de Campos, José Lino Grünewald, among others) and with European Avant-Garde composers he has met in the Darmstadt Music Courses that he attended in 1962 and 1968.
A presente pesquisa propõe uma análise musical da obra Vai e Vem, escrita para coro misto, tape, ... more A presente pesquisa propõe uma análise musical da obra Vai e Vem, escrita para coro misto, tape, toca-discos e instrumentação variável opcional por Gilberto Mendes em 1969. Situada na segunda fase da produção musical de Mendes (denominada “período experimental” ou “de vanguarda”), essa composição revela muitas das influências que o compositor absorveu a partir de seus contatos com Olivier Toni; com outros jovens compositores brasileiros que, junto a ele, assinaram o Manifesto Música Nova em 1963; com os Poetas Concretos brasileiros (Décio Pignatari, Haroldo de Campos, Augusto de Campos, José Lino Grünewald, entre outros) e com compositores europeus de vanguarda que ele conheceu nos Cursos de Darmstadt que frequentou nos anos de 1962 e 1968.
This research proposes a musical analysis of the experimental work Vai e Vem, written for mixed choir, tape player, turntable and optional variable instrumentation by Gilberto Mendes in 1969. Situated in the second phase of Mendes’ musical production (called “Avant-Garde” or “experimental period”), this work reveals lots of the influences the composer has taken from his contacts with Olivier Toni; with other Brazilian young composer that, with him, have signed up the Manifesto Música Nova in 1963; with the Brazilian Concrete Poets (Décio Pignatari, Haroldo de Campos, Augusto de Campos, José Lino Grünewald, among others) and with European Avant-Garde composers he has met in the Darmstadt Music Courses that he attended in 1962 and 1968.
Uploads
Papers by Raphael Caserta
This research proposes a musical analysis of the experimental work Vai e Vem, written for mixed choir, tape player, turntable and optional variable instrumentation by Gilberto Mendes in 1969. Situated in the second phase of Mendes’ musical production (called “Avant-Garde” or “experimental period”), this work reveals lots of the influences the composer has taken from his contacts with Olivier Toni; with other Brazilian young composer that, with him, have signed up the Manifesto Música Nova in 1963; with the Brazilian Concrete Poets (Décio Pignatari, Haroldo de Campos, Augusto de Campos, José Lino Grünewald, among others) and with European Avant-Garde composers he has met in the Darmstadt Music Courses that he attended in 1962 and 1968.
This research proposes a musical analysis of the experimental work Vai e Vem, written for mixed choir, tape player, turntable and optional variable instrumentation by Gilberto Mendes in 1969. Situated in the second phase of Mendes’ musical production (called “Avant-Garde” or “experimental period”), this work reveals lots of the influences the composer has taken from his contacts with Olivier Toni; with other Brazilian young composer that, with him, have signed up the Manifesto Música Nova in 1963; with the Brazilian Concrete Poets (Décio Pignatari, Haroldo de Campos, Augusto de Campos, José Lino Grünewald, among others) and with European Avant-Garde composers he has met in the Darmstadt Music Courses that he attended in 1962 and 1968.