This article provides a “dechiffrage” of the form, style, compositional techniques, and referential musical meanings employed by the Brazilian composer and pedagogue Flavio Santos Pereira in the composition of a seven-part suite entitled Reading of Dostoevsky, written in 2016 and based on the book The House of the Dead by Fyodor Dostoevsky. This chamber work is a premonitory work about the present pandemic time, which tests not only the human existential instincts and fears but also the spiritual, philosophical, and moral values upon which a mature and complete personality is built. The author manages to turn the economic structure of a dodecaphonic material into a source of polyphonic, polyrhythmic, stylistic, and timbre diversity. Oscillating and incremental textures, often reaching four-voice overlays, find their counterbalance in the asymmetric movements that synthesize complex subharmonic timbre combinations. The work can be classified as program music, as it employs characteristics of expressionist and impressionist styles mixed with free improvisatory polyphonic techniques. This paper also aims at inducing young performers to consider the paradigmatic model of “dechiffrage” for interpretation supported by stylistic and formal analysis based on classical and modern models. The article includes the full score of Reading of Dostoevsky by Flavio Santos Pereira.
This article discusses some of the most important prerequisites for building and organizing the didactic structure of music education at the university level in the midst of a pandemic. The emphasis is on the methodology in designing online learning. The principles of carrying out the preliminary preparation for the transition to the new synchronous1 and asynchronous2 training are described. The basic rules for building and organizing online lectures in the conditions of distance learning are systematized. Models for asynchronous lectures according to already established principles are presented. An analysis of the difficulties and dangers of constant home office work has been performed. The authors of this article share their pedagogical experience regarding the specifics of conducting individual and group music disciplines in the context of distance learning, giving basic recommendations on the structuring of the learning process, which can be used not only in a pandemic situation, but also in the future for more flexible, modern and effective education related to constantly improving technologies.
Voltado para alunos dos cursos de graduação em Música, este livro é o resultado da necessidade de uma referência em Harmonia funcional que atenda aos vários níveis da disciplina de Harmonia. Tomando a cadência como estrutura fundamental da harmonia tonal, tem como objetivo expor os princípios básicos aplicados na organização dos acordes em progressões harmônicas tonais. Estas formam vários modelos utilizáveis como ferramentas gerais nas áreas da Linguagem e estruturação musical, Harmonia, Análise e Composição musical. O conteúdo tratado, a partir do conjunto de acordes que constitui o léxico tonal, é relacionado exclusivamente com os mecanismos que formam as funções dos acordes e determinam os seus encadeamentos. Está organizado em duas grandes seções: Harmonia funcional diatônica e Harmonia funcional cromática. Na Harmonia funcional diatônica tomam-se as cadências simples e compostas como modelo para a introdução às diversas funções - tônica, subdominante e dominante - seus encadeamentos e a modulação diatônica. Na Harmonia funcional cromática são abordados os acordes alterados, o desvio da tonalidade pelo recurso às subdominantes e dominantes individuais ou secundárias, as modulações cromática e enarmônica, e a elipse. Conhecer as maneiras de interligar os acordes principais e secundários e tratá-los como "portadores” de funções permitirá aos alunos analisar com clareza progressões harmônicas da linguagem tonal e utilizá-las na criação de suas próprias composições musicais.
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