Mestrado em Processos Criativos - Universidade Estadual de Campinas - UNICAMP. Instituto de Artes/ Masters in Composition at the Art Institute of the University of Campinas State.
Orientador: Dr. Silvio Ferraz

Resumo: Este trabalho tem por finalidade avaliar determinados aspectos que nortearam algumas das principais especulações realizadas no campo da harmonia na música do século XX. Dentre os compositores figuraram: Claude Debussy, Arnold Schoenberg, Igor Stravinsky, Edgard Varèse, Pierre Schaeffer, Olivier Messiaen, Pierre Boulez e Flo Menezes.

Abstract: This study has the goal of evaluating certain aspects that guided some of the main speculations in harmony in twentieth-century music. Among its objectives are: to point out the premisses and strategies that took part in each new harmonic territory, as well as to explore the use of harmonic matrixes as a compositional principle. At the same time we underline how compositional strategies relate by means of pitch manipulation, and their results in timbre and sonority. To achieve this, we chose composers that in some point made use of harmonic timbre and sound matter as a distinctive element in the compositional process. Among them stand: Claude Debussy, Arnold Schoenberg, Igor Stravinsky, Edgard Varèse, Pierre Schaeffer, Olivier Messiaen, Flo Menezes and Pierre Boulez. 

RESUMO: este artigo visa demonstrar uma possível escuta concreta em Varèse e o quanto sua relação frente ao material sonoro se aproximava dos ideais que Pierre Schaeffer iria propor anos depois com a escuta reduzida elaborada no seu Traité des Objets Musicaux.
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ABSTRACT: this modest paper aims at demonstrating a possible concrete hearing of Varèse and how his relationship to the sonic material was close to the ideals Pierre Schaeffer would propose, years later, as the 'reduced hearing' elaborated in his Traité des Objets Musicaux.

5e Forum International des Jeunes Compositeurs 2008 Paris (FR) Interview with Rodrigo Lima

 

"The 5th International Forum for Young Composers, organised by the Aleph Ensemble, took place in July 2008, at the Centre Culturel de Rencontres in the convent of La Tourette.

"On the occasion of these interviews, the nine young composers selected develop ideas that show the vitality, the specificity and the necessity for genuine creation, that we hope will survive in this world obsessed by repetition."



Makis Solomos,                              
musicologist, July, 2008.

'The bassoon solo that begins The Rite of Spring has had a profound and lasting influence on the treatment of the bassoon as a melodic instrument, both in the context of the orchestra and as a solo instrument. It has been alluded to and directly quoted in many works over the past century, and has become associated with the modern concept of the bassoon as a solo instrument. Four works for solo bassoon by contemporary composers—Canto XII by Samuel Adler, Metamorphoses by Leslie Bassett, Paisagem Sonora N.5  by Rodrigo Lima, and From Rite to Rite by Claudia and Maíra Cimbleris—all adapt the bassoon solo from the introduction to The Rite of Spring. Although the passages in these four works that contain musical allusion to The Rite of Spring vary widely in content and character, they demonstrate certain similarities in the treatment of material borrowed from the bassoon solo and other parts of the ballet. These similarities suggest a common way of thinking about Stravinsky’s bassoon solo, and its continued use by contemporary composers suggests its long lasting impact on modern bassoon writing'.

 

Scott Miller

Louisiana State University - The School of Music
 

 Music Review UFBA 2017

 'Composing is a discovery act'

by Rodrigo Lima 

This article is based on a lecture held in December of 2015 during my participation in MAB’s IV Composition Seminar at the Music School of the Federal University of Bahia. The lecture followed two lines of thinking:

I. The fundamental role of harmony in the creating process of the works Elegia em Azul, for eight trombones, and Antiphonas, for alto saxophone and ensemble.

II. The composing act is also a discovering exercise. The composition of a piece of music doesn’t take place only from the materials initially defined, but most of all from the freedom to incorporate the structures that emerge during the process.

          Rodrigo LIMA  

      Compositor - brazilian composer    

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