A construção do discurso musical de três estudantes na peça Dois Movimentos para Clarinete Solo, de Estercio Marquez Cunha

Abstract

The present research sought to understand the construction process of clarinet player musical discourse in a twelve-tone piece by a brazilian/goiano composer. It was intended to investigate how the clarinet player constructed their musical discourses in this post-tonal piece, understanding the meaning of the construction process of the musical discourse by these clarinet players. The piece Two Movements for Solo Clarinet belongs to a repertoire of works for clarinet that make use of compositional techniques from the 20th century, using some elements of expanded techniques on the clarinet. Therefore, the research has as its premise to understand how these students build their speeches and musical meanings in this piece by Estercio Marquez Cunha, thus being able to contribute, on the one hand, with the expansion of the foundation for a greater inclusion of this 20th century repertoire in clarinet courses, and on the other hand, with assumptions for the expansion and diversification of didactic approaches for teaching and learning this repertoire. Thus, it was believed that, hypothetically, it is possible to analyze a process of construction of a musical discourse for the realization of a musical performance. Leading to a main objective which is to study the construction of the musical discourse of the piece Two Movements for Solo Clarinet by the composer Estercio Marquez Cunha by clarinet players, as well as the musical meanings elaborated by them from this experience. Specifically: Understand the construction of the interpretative conception and preparation for the performance (in the recording format) of a solo twelve-tone piece by instrument learners who are not familiar with this repertoire; Find out how the construction of musical discourse is in the recorded performance of these clarinet players; To analyze how the prior knowledge of student clarinet players in tonal music may have been related to the construction of the discourse of this twelve-tone piece; To verify what musical and professional training meanings the students attributed to the inclusion of the piece, in the case of a twelve-tone piece and a local composer. The research methodology chosen for this study was that of multicases, as there were three clarinet students from different levels of two institutions. In nature, this research was basic, as it aimed to generate new knowledge, useful for advancing the development of clarinet performance and pedagogy, using both a qualitative and quantitative approach. The construction of research data took place through analysis: From the life story of Estercio Marquez Cunha described in the literature and through interviews already carried out by other authors with the composer. From the work Two Movements for Solo Clarinet, considering the musical spelling of the score, the style, the form, the treatments of the rhythmic and melodic contours, the compositional process, and the technique of the clarinet; From the field diaries of the participants, referring to the preparations for the recording of the play; The questionnaires applied with the participants; and the recordings. The analysis of the musical discourse of the three students was carried out by crossing five types of data: 1) the composer’s life history and compositional profiles; 2) the compositional analysis of the musical piece; 3) questionnaires 1 and 2; 4) field diaries; and 5) recording analysis. For the analysis of the recordings of the researched clarinet players, Keith Swanwick’s Theory of Musical Development, as understood by França (2004), David Elliott’s five levels of Musicality (1995) were used, with the aid of a computer program sonic visualiser and audacity. The criteria used to analyze the research data were based on the nature of the performance based on Swanwick (2003 and 2014) and Elliott (1995) designed to understand the construction process of the clarinet players’ musical discourse. An important factor of this thesis was the contemporary music does not appear very frequently in the culture of music education institutions in Goiânia, making possible a great absence of this repertoire for the researched clarinetists. Therefore, I propose that contemporary music be inserted more frequently in the repertoires of clarinetists from Goiás.