![]() ![]() In this case, it is necessary to subject sonority to the laws of valuation already established in the canonical discourse of music theory and composition, guided by laws of logic, coherence and comprehensibility – just to maintain some of Schoenberg’s emblematic expressions. With this in mind, if one wants sonority to be understood as a new compositional paradigm, and not only as a surface element, it is necessary to understand how it can be thought within the perspective of musical structuration, i.e., how it can articulate material and form at the core of composition. Part of this bibliography is committed to legitimising sonority as the compositional paradigm of a “new era”, but, for this purpose, it reproduces a modus operandi similar or identical to that which was used in the past. In recent years, the term sonority 1 has gained prominence in academic research, resulting in an extensive bibliographical corpus. Ĭaption: A menina que virou chuva (2013), for orchestra, by Valéria Bonafé – Orquestra Sinfônica do Paraná and Marcio Steuernagel (conductor) A menina que virou chuva Ī menina que virou chuva might be listened to as the continuous chaining of three particular atmospheres, which I call here sonorities: Evaporação, Condensação and Depois da chuva. (note that it introduces a new numbering system ) It is important to emphasise that the purpose of the article is not to use A menina que virou chuva as illustration of a theoretical debate about the notion of sonority, but rather to make the notion of sonority itself emerge and expose its contours from of a singular sound experience. Each of these layers can be read independently, but the text was designed to a linear reading, thus provoking alternation between the two layers. While the layer dedicated to the discussion of the notion of sonority presents a more theoretical writing, the other one dedicated to the piece has a more literary character and evokes a large number of elements generally considered to be exterior to music, such as metaphors, aspects borrowed from other arts and a whole imagistic and multisensorial universe that permeates the sonority field within my creative process. Listening to this piece is required for understanding the article. In the other layer (i, ii…) I make some analytical comments on my piece A menina que virou chuva, a composition for orchestra created in 2013. To build this reflection, I especially dialogue with three Brazilian researchers/composers: Denise Garcia, Rodolfo Caesar and Silvio Ferraz. In one of them (labelled as 1, 2…) I discuss the notion of sonority from the perspective of musical composition. This article is constructed from the articulation between two textual layers. Throughout the article, the notion of sonority is reflected upon through comments on my piece for orchestra, A menina que virou chuva (2013).Ĭomposition, listening, sonority, sound image, imagination, experience. Sonority is understood, thus, from the notion of experience. Thus, sonority is repositioned from listening: not a reduced one, but instead an enlarged listening not purely cochlear, nor tympanic, but sensitive, affective, and imaginative. I place the notion of sonority, not as a concept circumscribed in analysis and composition theories that take sound as a thing and handle it from its parameterisation, but rather as an idea of a more dynamic and holistic nature. In this article, I discuss the notion of sonority from the perspective of musical composition. The experience of sonority: the dangers of a journey into the unknown ![]()
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