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HOITE DOS TAIVIBORES SILENCIOSOS

for symphony orchestra

Voiume 1: Musical Score

EIi-Eri Luiz de Moura

Faculty of Music, McGiII University, Montreal September 2003

A Thesis submitted to the Faculty of Graduate Studi&s and Research in partial fulfillment of the requirements of the degree of

Doctor of Music

© EIi-Eri Luiz de Moura 2003

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Instrumentation

Piccolo 2 Flutes 20boes English Horn 2 Clarinets Bass Clarinet 2 Bassoons Contrabassoon 4 Homs 3 Trumpets 2 Trombones Bass Trombone Tuba

Percussion (4 players)

1: Timpani, Crotales, Triangle (small), Suspended Cymbal (medium), 4 Cowbells, 2 Temple Blocks (small, medium)

2: Glockenspiel, Vibraphone, 3 Brake Drums (small, medium, large), 2 Wood Blocks (small, medium), Bass Drum

3: Xylophone, Marimba, Vibraphone, 2 Metal Blocks (small, large), 4 Bongos

4: Tubular Chimes, Marimba, Triangle (small), 2 Bell Plates (medium, large), Tam-Tam (medium), 4 Tom Toms

Harp Piano

Strings: Min. 16 Violins 1 14 Violins Il 12 Violas 10 Cellos 8 Double Basses

Notation

The score is writt.:n at actual pitch with the exception of the following instruments:

• Piccolo sounds one octave higher than written; • Contrabassoon sounds one octave lower than written; • Crotales and Glockenspiel sound two octaves higher than written; • Xylophone sounds one octave higher than written; • Double Basses sound one octave lower than written.

Strings:

• The sign + denotes the raising of the note by a quarter-tone. • The sign :$ denotes the raising of the note by three quarter-tones. • The sign j... denotes the lowering of the note bya quarter-tone. • The sign bit denotes the lowering of the note by three quarter-tones.

Ouration

ca 14 minutes and 30 seconds

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NOITE DOS TAMBORES SILENCIOSOS

for symphony orchestra

Volume Il: Analysis

EIi-Eri Luiz de Moura

Faculty of Music, McGiII University, Montreal

September 2003

A Thesis submitted to the Faculty of Graduate Studies and Research in

partial fulfillment of the requirements of the degree' of Doctor of Music

© EIi-Eri Luiz de Moura 2003

ABSTRACT

ln this paper the compositional issues and techniques employed in my D.

Mus. Thesis Composition Noite dos Tambores Silenciosos (for symphony

orchestra) are discussed. The piece, constituted of three linked parts, exhibits a

counterpoint of three distinct kinds of music as the main vehicle of the musical

discourse.

Two of these musics are connected with Ma ra ca tu de Baque Virado and

Maracatu Rural, popular musical manifestations found in Pernambuco, a state in

northeast Brazil. In a "defragmentation" process, reference materials from the

Maracatus are abstractly fragmented and reconstructed according to a technique

1 cali Zin-Zout, implementing in the music a continuous state of transformation,

back and forth between micro and macro dimensions. The third kind of music,

free of folk references, follows a transformational process built up according to a

"palimpsest" technique. In this transformation the hierarchy of the musical

parameters changes along with the units of the musical content.

These procedures involve not only pitch and rhythm, but also other

parameters like timbre, density and register in a structural way, as building

elements of the content and form of the work.

The defragmentation process establishes sorne predetermined

cornpositional paths, but permits micro- and macro-Ievel decisions based on

intuitive considerations, especially in the manipulation of orchestration and micro

rhythms. More systematic, the organization of pitch involves a limited serialism

and a variety of modal treatment.

2

RÉSUMÉ

Dans ce projet, je discute les enjeux techniques de la composition de ma

création de thèse de doctorat Noite dos Tambores Silenciosos, oeuvre pour

orchestre symphonique. Le discours musical de la pièce est véhiculé par trois

musiques distinctes combinées par un contrepoint structurel d'ordre supérieur.

Deux de ces musiques sont connectées au Ma ra ca tu de Baque Virado et

au Maracatu Rural, des exemples de musique populaire trouvés dans l'état

brésilien de Pernambuco. Suivant un processus de défragmentation, les

matériaux de référence des Maracatu sont fragmentés et reconstruits dans

l'abstrait, selon une technique que j'ai nommée Zin-Zout. Cette technique crée

dans la musique un état de transformation continuel, un échange entre les micro­

et macro-dimensions de la pièce. La troisième musique, non touchée par les

références folkloriques, engage un processus de transformation construit selon

une technique Palimpseste. Dans cette transformation la hiérarchie des

paramètres musicaux change avec les unités musicales.

Ces procédés impliquent non seulement les hauteurs et les rythmes, mais

aussi les autres paramètres tels que le timbre sonore, la densité et le registre, de

façon structurelle, comme matériaux de construction pour le contenu et la forme

de l'œuvre.

Le processus de défragmentation établit quelques parcours

compositionnels prédéterminés, mais permet des choix aux niveaux micro- et

macro-structurel fondés sur des considérations intuitives, surtout dans la

mailipulation de l'orchestre et des micro-rythmes. L'organisation des hauteurs,

plus systématisée, utilise un sérialisme limité et une variété de traitements

modaux.

3

CONTENTS

INTRODUCTION .................................................................................... 06

THE MARACATUS OF PERNAMBUCO ................................................. 09

CONTENT AND FORM .............................................................. 13

PITCH ORGANIZATION ........................................................................ 24

ASPECTS OF RHYTHM AND ORCHESTRATION ................................ 40

CONCLUSION ....................................................................................... 43

81BLIOGRAPHY .................................................................................... 44

4

ACKNOWLEDGMEi~: S

1 wish to thank my family (especially Mariluce, Fernando, Nairam, Eliel, and

my parents Fausto and Rosita) for their patience and full support, and Professor

Brian Cherney for his guidance, encouragement, supervision and continuing

enthusiastic support during the doctorate course and the preparation of this

thesis. 1 also thank Professors John Rea, Alcides Lanza and Denys Bouliane, for

their helpful advice during the doctorate, and Jon-Tomas Godin for the

translation of the thesis abstract from English to French.

The research reported in this paper was made possible due to a Max Stern

Fellowship in Music provided by McGili University and a special scholarship

provided by CAPES (Fundaçao Coordenaçao de Aperfeiçoamento de Pessoal

de Nivel Superior), Brazil.

5

INTRODUCTION

Noite dos Tambores Silenciosos (Night of the Silent Drums) is a piece for

symphony orchestra comprising the following instrumentation: 2 flutes, piccolo, 2

oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4

French horns, 3 trumpets, 2 trombones, bass trombone, tuba, percussion (4

players), piano, harp and strings.

ln writing Noite dos Tambores Silenciosos (NTS) 1 attempted to explore new

relationships between concert and folk music. Although traditionally applied to

music that somehow involves local folk elements, the term 'nationalist' is not

totally appropriate to refer to this piece, principally if considered in the restricted

sense of the word - of evoking or expressing nationalistic, ideological attitudes or

folklorist feelings. If the term is to be used at ail, it should be then in the context

of a search for a 'renewed nationalism.' ln a more open sense, this may refer to a

music that grows from an interaction with elements of a local culture, but unfolds

according to the two following views.

The first is the intention to implement a geographic contextualization, a

regional reference that favors a culturally diverse and multiple rather than a

flattened out and globalized vision of the world. This is as far as an ideological

connection or motivation is concerned.

The second is the aim to achieve an interaction (with elements of a local

culture) that occurs structurally, permeating several hierarchic levels of the

composition and its processes of creation. In this interaction the cultural

ingredient is at the basis, at the beginning of the process, influencing the choice

of raw materials, procedures and structures, and working as a triggering factor.

From this initial, basic position, however, the local traits rnay pass through

transformations affecting the most internai, inherent elements and aspects of the

materials per se. Consequently, they may emerge in different levels of the music

in various forms and not always in an explicit profile, necessarily identified with

macro elements of the referential culture.

The idea is to avoid an interaction only on a superficial level, as is the case

with music that simply stylizes folk sources. In such music background

components, generally pertaining to established harmonic practices, support

surface elements (melodies and rhythms), which are adjusted to fit characteristic

features of the local musical manifestation. This is an approach in which music

follows a path from a universal towards a regional vicinity. In NTS the idea is to

6

pursue the opposite direction - a transcendence from the regional to the

universal. In this regard, Bartok, a composer who unified at pre-compositional

and structural levels his expanded tonality with Hungarian folk music, is a

reference. In the case of NTS, an association is made between a particular

compositional process, explained below, and Brazilian music - specifically the

Maracatu, a popular manifestation found exclusively in Pernambuco, a state in

northeast Brazil.

ln accordance with the second view, this association is to involve not only

pitch and rhythm, but also other parameters like timbre, density and register in a

structural way, as building elements of the form and content of the work. To

achieve this, a conceptual deconstructionist or decompositional aesthetic is

applied to the popular culture. Rather than considering large design elements as

reference sources, a microscopic approach is adopted: fi rst , by reducing the

reference sources to single elements or even aspects of elements; second, by

'Iooking inside' these elements, further breaking their constituent components

down (to a point they may not even be recognized), and working with these

'microscopic' parts in several ways.

ln a process 1 cali "defragmentation" (a term from computing science that

describes a phenomenon not very different from the one referred here), the

music goes through a continuous process of transformation, from micro to macro

dimensions, in which the basic reference source from Maracatu is abstractly

reconstructed. In the process, the different parts of this material are rebuilt and

allocated their right places in time.

Having music itself as its subject, this "defragmental" music is intended to

allow a simpler, more obvious model of perception, instead of taking very hidden

sound structures as a starting point, as in fractal and spectral music. In looking

for balance between technique and intuition, at the same time that it establishes

a predetermined path, it also allows for much freedom of artistic decisions and

interpretation in the several stages of the defragmentation process.

The ways in which this process is organized in time and how these ways

relate to each other determine the large-scale form of the piece. NTS develops in

time as a 'counterpoint of three musics,' two of them characterized by a

distinctive defragmentation process. The musical subjects that serve as

reference for these two 'musics' are taken from a characteristic rhythmic pattern

from Maracatu de Baque Virado and from sorne typical timbres and toques1 from

1 The repeated rhythmic-melodic patterns and cells played by the instruments of Maracatu.

7

the instruments of Maracatu Rural, the two existing types of this Brazilian musical

manifestation. The third kind of music is abstract and free of any folk reference; it

follows a different transformational process built up according to a procedure 1

cali "palimpsest technique."

The starting point for organizing pitch and rhythm in the piece was to

establish some connections with Maracatu materials in these domains. But this

works only at the level of symbolic relations. The general conception of the

musical language is strongly based on cultural aspects. The goal was to create a

closed cosmos based on perceptional models that take into account the

environ ment and our biological equipment to process data. Accordingly, the

several compositional techniques employed to regulate these parameters (the

order determinants of this cosmos) are not conceived and used conceptually or

as an end in themselves. They are very practical means to create audible strata

and specific textures, as required by the musical discourse and form.

Due to the important role of timbre in the continuous process of

transformation of the work, orchestration is also placed in the category of order

determinants of the musical language. More than having timbrai and colorful

functions, it has a structural role. Orchestration is closely related to the form of

the piece, since it is by means of its manipulation that many of the relations with

the sounds of the Maracatu instruments (necessary to unveil the proposed formai

plan) are created.

ln addition to examining the available bibliography on the music of the

Maracatus, 1 personally conducted field research about the two kinds of Maracatu

during Carnival, in February 2001. By means of recordings and photographs 1

documented the Maracatu de Baque Virado during the ceremony Noite dos

Tambores Silenciosos in downtown Recife (capital of Pernambuco), and the

Maracatu Rural in Cidade Tabajara (a small village near Recife).

NTS presents not only some material provided by this research but also

reflects some aurai perceptions that 1 experienced when 1 was actually realizing

the recordings during the ceremony Noite dos Tambores Silenciosos.

Appropriately, the piece is titled after the name of this ceremony, even though it

has no pictorial or programmatic character.

8

THE MARACATUS OF PERNAMBUCO

Maracatu de Baque Virado (Maracatu of the Twisted Stroke), also known as

Naçao (Nation), is a dance-procession that evokes the courts of African

sovereigns from the past. Nowadays it is restricted to Carnival in the city of

Recife, capital of Pernambuco state. The origin of Maracatu de Baque Virado is

related to the festivities promoted by African slaves for the symbolic coronation of

Reis do Congo (Congo Kings), first mentioned in 1674. Slaves and peasants

used to bring the royal couple in a procession to the front of Nossa Senhora do

Rosario dos Pretos2 church, where the coronation was celebrated by a priest.

During the procession, the participants performed dances, music, war games,

and plays. While the coronation ceremony was no longer used after 1888, when

slavery was abolished in Brazil, the procession with its music and dances

continued a tradition that was later incorporated into the Carnival parades.

Maracatu is also closely connected with Xangô. This is the most important Afro­

Brazilian religion in Pernambuco, a cult of possession with long cycles of dances

and songs that invoke the orixas or gods of Africa - from Yoruba-Nagô, Fon,

Angola, Ketu, etc. - syncretized with the saints of the Catholic religion.

The dramatis personae of Maracatu de Baque Virado include king, queen,

princes, ambassador, baianas (female dancers) and dama-do-paço (court lady),

among others. The latter carries the calunga, a small doll that represents either

the divinity of the orixas, according to sorne researchers, or the performers'

ancestors, according to others (Giffoni 1964, 185). Songs called Toadas, alluding

to African deities and related to the calunga, are sung by the tirador de loas and

responded to by the other performers. Closing the procession, there is an

accompanying group of approximately 30 percussionists playing gonguê (large

metal cowbell-like instrument), ganza (rattle), tarol and caixas de guerra (snare

drums), and three sizes of zabumbas (cylindrical wood drums) called repique

(high), meiao (middle) and marcante (Iow). The different timbres produced by

these instruments enhance the intricate, polyrhythmic texture of the ensemble.

Particularly impressive is the low pitched sound produced by the large, dull­

sounding zabumbas. The way they are played - with twisted strokes (Le. baque

virado) - gives the name to this Maracatu.

A very good representation of this tradition occurs every Carnival Monday,

when the Maracatu associations meet in front of Nossa Senhora do Rosario dos

2 Our dear Woman of the Rosary of the Blacks.

9

Pretos church and go in procession to the forecourt of Nossa Senhora do Terço church, in Sao José, downtown Recife. There, they celebrate a ritual called Noite dos Tambores Silenciosos (Night of the Silent Drums). At midnight, ail the drums fall silent and lights are turned off, while the babalorixa (a Xangô leader) prays and sings foadas honoring Nossa Senhora do Rosario, the queen of blacks, and special songs to the eguns (the dead).

ln attending the ceremony, one is exposed to several interesting aurai experiences. As the Maracafu associations perform several choreographic movements and approach the triangular forecourt, coming from several adjacent streets with their massive percussion ensembles, one perceives many sound phenomena, like transformation, distortion, movement, echoing, closeness and distance sensations.

Illustration 1: Ceremony Noife dos Tambores Silenciosos

10

The other type, Maracatu Rural (Countryside Maracatu), is also called

Maracatu de Baque Solto (Maracatu of the Loose Stroke), or Ma ra ca tu de

Orquestra (Orchestral Maracatu). Different from Maracatu de Baque Vira do, this

one has other cultural ingredients, a mixture of various Indian and African

elements, and represents a fusion of several folguedos (popular plays).

Developed in the lands surrounding the sugar cane plantations outside of Recife,

its neighborhood associations form the most colorful Carnival groups in

Pernambuco. In the center of the group, there are a king and a queen as weil as

a banner (flag) around which dancers, representing several dramatis personae,

perform choreographic movements in various concentric circles. The personae

include baianas (female dancers), court ladies holding bouquets of artificial

flowers or dolls, caboclos de pena (feathered Indians), and caboclos de lança

(spear dancers). The latter form the outermost circle and have the function of

protecting the players.

The music of Maracatu Rural alternates between an instrumental type

(which is accompanied by dance) and a vocal type called loa (which is

improvised by a leader and responded to by the baianas). As a rule, when the

loas are sung, the instrumental music falls silent and the dancers remain still.

Near the banner, in the middle of the group, there is a rhythm ensemble in

addition to a trombone and, occasionally, a trumpet. The instruments of the

ensemble consist of tarol (snare drum), cu/ca (friction drum), gonguê (double

bell)3, ganza (rattle), zabumba (wood drum) and apito (whistle). The

percussionists play one of the fastest rhythms of Brazilian folk music. In addition,

the caboclos de lança carry large chocalhos (metal bells) on their backs, whose

clappers strike with each step. The spectator undergoes a unique aurai

experience as the sound of these bells mingles with the music of the small

instrumental ensemble, resulting in a moving rhythmic-sonic pandemonium, a

'stochastic' sound, that is among the most original of the Pernambuco Carnival.

3 Different from the gonguê of Maracafu de Baque Virado, the one used in Maracafu Rura/looks like an agogo, with pairs of cone-shaped metal belis attached to a U-shaped handle.

Il

Illustration 2: Gaboclo de lança (Maracatu Rural)

12

CONTENT AND FORM

Defragmentation and Zin-Zout Processes

The defragmentation process referred to above connects different aspects

of the piece in several ways. In this process a rhythmic pattern from Maracatu de

Baque Vira do and 50 me typical toques and timbres from Maracatu Rural are

taken as basic elements. These are submitted to the procedures 1 cali 'Zoom ln'

and 'Zoom Out' ('Zin' and 'Zout' for short), which demand several personal

artistic choices at a pre-compositional, abstract level. Zin consists of

deconstructing, separating temporally and 'physically' (in a metaphorical way) the

elements' constituent components, further detaching microscopie 'slices of

sound' and giving them closer and closer glances, 50 that, let's say, a specific

timbre (or even just a particular aspect of a timbre) can be identified and viewed

(or heard!) as a separate entity. The procedure parallels the act of getting very

close to a painting, to a point that no meaningfully drawn outlines but rather

texture, paintbrush strokes, and details of the canvas itself are perceived. Zout

applies to the reverse, the process of reconstruction, of assembling gradually the

slices of sound, components and elements of the reference source. The idea in

applying this procedure is that, in comparison with Zin, one can recognize from a

certain 'distance' musical gestalts (i.e. the elements in their holistic forms),

similarly as, in painting, one can delineate clear and meaningful images.

ln accordance with the proposed aims, these procedures not only allow for

traditional parameters (pitch and rhythm) but also secondary ones (timbre,

texture, etc.) to work structurally. This is especially the case with Zin, which tends

to emphasize the most inherent and internai properties of the musical substance.

The transfer of notions like closeness and distance from the universe of

spatial arts like painting - where they in fact belong - to the musical domain

(especially in the specific context of NTS) involves an application of different

measures of time, the crucial factor in music. The implementation of Zin

(associated above with closeness) depends not only on the content of sound, but

also on the use of longer units of time associated with this sound. This is due to

the fact that in order to be meaningful, factors such as timbre and texture need to

be stretched in time; they demand time. Conversely, in addition to appropriate

timbrai transformation of the sounds' components, Zout (associated with

distance) demands that these components recur in smaller units of tirne in order

13

to be comprehensible. Another consideration is that different types of

transformation may occur between Zin and Zout final states, demanding large­

scale measures of time.

Shape

Because of these temporal idiosyncrasies, a large-scale form may be

conceived for the entire piece sim ply as an outer projection of one or some of

these transformational designs developed in time.

To determine the formai plan of NTS 1 superimposed three such designs,

each incorporating a distinct kind of music, so that a 'counterpoint' of three

'musics' could be distinguished in a high-Ievel hierarchic order of the

composition. Two of these musics are elaborations of the basic elements taken

from the Maracatus, mentioned above; the third has no folk implication.

The first music (MBV) represents the Maracatu de Baque Virado and

embodies two variations of a characteristic rhythmic pattern from it - a measure

comprised of 16 sixteenths. In the Maracatu this pattern emerges as a

simultaneous sum of the various instruments of the percussion ensemble

(gonguê, ganza, taro/, repique, meiao and marcante), each playing its particular

toque, as shown in Ex. 1.

Ex. 1

Gonguê -fi' -fi' iJ-fI' .,~Y (J v~Y cr 5t ~ 5f Ganzâ WWWW Wüfkbi

> > > > > > > > Tarol ŒidWg ŒiŒrWW

> > > > > > > > Repique Md UU M~ UU Meiào

Marcante ~ l ~~y~~y ~ Y~v~y~~y > > > > > > >

14

Marking the musical content of MBV at the beginning, this reference source

is submitted to Zin and displayed completely deconstructed and disfigured, in the

form of slices of sound, discrete aspects of timbre, elementary sounds elongated

in time. These are th en submitted to a large-scale and graduai process of

assemblage according to Zout, in which they pass through timbrai and texturai

transformations and get c10ser and c10ser in time, towards gestalts of the

reference source (the Maracatu rhythmic pattern). The first gestalt is followed by

three others, each with a different aspect emphasized. Extending from the

beginning to the end of the piece, this design is the most prominent and

determinant for the overall form. Given its shape and characteristics, manifold

ideas can be associated with it. It can be related to a movement of contraction in

time, a design of dispersion toward unit y, or still a progression from distortion to

clarification.

The second music (MR) incorporates some instrumental timbres and

toques from Maracatu Rural, transcribed in Ex. 2.

Ex. 2

Gonguê

Ganza

Tarol

Zabumba

Cuica

EEErEEErEEErEEErEEEfEEEr D. jD. jj Jjj .oj .oU .0

, l l , , ,

(+ variations)

(+ variations)

Chocalhos ••• t •• :'. •• •• ... • •• •••• .. ~ ;0;;;95? ~ . .

Because these elements are applied throughout in Zin-Zout fluctuation, a

more flexible, variable design emerges. It unfolds in a succession of smaller­

scale passages exhibiting contraction and expansion, distortion and clarification.

15

The third kind of music (FrM) is abstract and free of any folk reference. It represents a constructional 'synthetic' music that stands against the 'organic' music derived fram the Maracatus and embodied by MBV and MR. The interplay of the synthetic and the organic, interconnecting an artificial language and popular cultures thraugh a formai bridge, implements a new dimension to the counterpoint of the three musics, as this counterpoint now involves not only distinct referential folk sources but also musics of different natures and qualities.

The FrM design works as a large-scale expansion, counterbalancing the large-scale contraction of MBV. Displaying the reverse order of MBV, FrM's transformational process can be related to a movement fram unit y to dispersion. With no external references, FrM undergoes a transformation in which the hierarchy of the musical parameters changes along with the units of the musical discourse (the musical content). These changes lead to an emphasis on the status quo of the parameters themselves which, increasing in importance, dominate the mentioned units and neutralize their position as the carriers of the highest hierarchic structural level of the music. The transformation of FrM occurs in time, but one can say that its musical discourse develops somehow 'vertically,' because the units of this discourse progress thraugh a chain of distinct parameters, instead of following a more conventional 'horizontal' path within the confines of a single parameter.

ln practice, FrM expands fram two 'nucleus' chords (that represent the harmonic parameter), passing through varying stages (that typify the parameters of melody and texture) until expressed as a sound close to white noise (to denote the parameter of timbre). The passage fram one stage to another resembles the formation of a palimpsest. Once a new stage is completely reached, selected elements fram it start grawing up, getting detached fram their basic structure to form a new content (which is carried out by a new parameter). This is to say that the musical substance, which in a certain moment represents the musical surface, in the next instant becomes reference background, i.e., the structure elaborated as a support for the next compositional choices.

The interplay of the three musics occurs in time thraugh three main large­scale Parts, played without pause. In each Part the musics interact differently. The first (mm. 1-203) presents the three musics intermingling in a continuum, each undergoing its own transformation as described above. They start as fused as possible and praceed toward horizontal and vertical stratification. MR is completed in this Part. The disintegration of MBV's second gestalt marks the

16

beginning of the second Part. Within this Part (mm. 204-273) FrM fuses with MBV and proceeds to its ultimate form - the manifestation of a timbre - and consequent ending. The quietist and most sHent passage of the piece follows FrM's conclusion (mm 246-255). This passage is intended to work as an 'anticlimax' moment before MBV resumes. The last Part (mm. 273-310) represents a 'transcendence' zone, in which MBV, constantly subjected to Zout, achieves more apparent forms (even though highly stylized, according to different techniques, explained below).

Proportions

The piece is not intended to sound sectional. However, divisional points are necessary - even if to act only in a pre-compositional level - to mark the several stages of transformation the three musics go through. In addition to exhibiting the most overt design that defines form, MBV also provides the reference source for the definition of large-scale divisional points and correlated proportions. An element of its incorporated rhythm - the toque of the Marcante drum - is projected into large spans of time to determine proportional divisions of Sections and Subsections.

The Marcante toque is in 4/4 meter with the sixteenth as its smallest unit. Its rhythmic pattern, confined to a single measure, is repeated over and over between sectional cadences of the Maracatu songs. One of the most common is a pattern in which the batidas (strokes) accentuate the first, tenth and fourteenth sixteenths, creating a division of 9 - 4 - 3 durational units.

This division is applied proportionally to various formai levels of NTS: first, to each of the Parts to establish the durations of the Sections; second, to Sections to determine Subsections; then, to some of the Subsections to set a few smaller segments. The durations of the three Parts are respectively 9 minutes, 4 minutes and one minute and thirty seconds. Ali divisional figures inside each Part derive from these numbers according to the proportion 9 - 4 - 3. Due to compositional reasons, the original order of these durational units is not maintained throughout. The proportional relations between the Parts are only partial. Considering a hypothetical whole number "16," the durations of Parts 1 and 2 (9 and 4 minutes), agree with the Marcante proportions, while Part 3 (1 minute and 30 seconds) cuts by half the number needed to complete the referential whole number. Ex. 3 gives a global vision of the procedure.

17

Ex. 3

.., Q) L.

'" .., '" Q)

E

.., '0; Q) ~ ...­c ~ '" c. c

.., L. Q)

.Cl

E '" z

*

Although there is no attempt in NTS to derive music from nature, 1 acknowledge that this isomorphism, emphasizing the interrelation between the parts and the whole in the temporal aspect of the piece, is inspired by the concept of self-similarity from fractal geometry - which refers to the formation of geometrical figures in nature in ail proportions according ta the same law. Lauwerier says that "a fractal is a geometrical figure in which an identical motif repeats itself on an ever diminishing scale" (1991, xi). Parallel to this idea, the pattern from the Marcante drum not only permeates the partition of long temporal

18

e e e

m en 5' 3"0 ë' cs: ~ x c: - -. a ..., CD ..., ~ g~ oQ"03m~

CD "0 omo::-m mm ::4--< c: ~ '< X ::::J o' CD g CD o .... Cl.::::J~"en ::::J Cl. ...... 3 m CD en~

1 en CD _. -::::J m 0" !:ecI !:ecII 9. en en ~ ':< ~."O S. SuU l SUbI·l SUbI·3 SUbD·l g. m ..., 0" < ~ ..., Fusion ln n " Toward stratification n Horizontal strat. If Vertical strat.- ~ 0" 0 '< ,<CD 0 CD 1 11.2 20 51 70 94 en ~ ~ 3- 3 -go 16

"f L ' :" m'S-CD Cl.m m 1'1 DV : ~ •••••• Il............................... . ... Partial Geslafts •••••••• ••••• ••••••••••••••••• ••••••••••••••••••••• ~ ::J"" ID CD ....... ....... i l m 3::::J...,CDen

~Total--i-partial " 0" - en <. -< _.

Frfd 1 i i NC1 (harmony) Dispersion Texture NC2 (Harmony) ~ 5f en 0 m 5' ~ Fusion-:-Fusion l CD -"0 - -

: ""m-3-MR 1 1 1 CIJ/ca Brass Belis g} ~ a c: 5'

l l ~ 0 _. < 3 en :E Cl. CD _. < ~ ~ 5en~~~g~

SUbII·l SUbII-3 SUbm·l SUbm·l SUbm-3 SUb\f..3 CC :::r en"2. _ MDV Gestatts. • nn FrM Timbre/Anticlimax m. 0 ~ m ê} ~ g} 157 181 239 :::r :E c: ::::J en 3 0

\0 CD U m - en ::4-01 Disintegl"ation ..., st c: "0 D3 m en

CD D3"2.U~-::::J _. _ ...... ..., FrM Motives 1 :T::"~:'::~ ITexture 1 1/ 1 Timbre 1 3 0 ~ g Cl. ~

-mO- CD­:::r _. :::r o' 0 en c: MR GonglJê 1 Recurrences CD ::::J ~ ::::J - 16 m

en CD 0 m 0 en ~ O)::::J -..., tirm

m occ~st:::r=en !:a;'VI !:eèVII!:eèVIII SecIX "0 CD _ CD 'S- '< :E

Transcendence Zone - g, en 0 en :::r3

5' = _. 0 - CD o _ :::r - -. Z 0" ::::J CD"'0-lCD

MBVI Kesumlng Il 03 1 04 la~~dall m s: '"0 ~. '"0 en CD(1r3m~ ~

F~ en-(')=imCD lm CD :::r ~ ~ ..., "0 ::::J

U CD ;::::+:::::J _. 0" MR _. CD '< CD(') CD o --::::J O-CDO

en 3 Q c: 0:: :E c: .....::::J < . en 0 _. ::T -1

m -. CD:::tl 0 ::::J~ "OCDen::T Cl. ~ ~- en CD CD

The Gestalt States of MBV and MR

Punctuating the overall form, the Zin-Zout transformational process of MBV

involves various gestalt states. On its way to achieving the first big rhythmic

pattern gestalt (at SubIII-l, m. 157), MBV follows a trajectory in which every new

stage of the music either fuses or unites contiguously and simultaneously

microscopie components of the former stage, creating several intermediate and

partial gestalts. In this way, different particles are re-exposed to form individually

shaped sounds; these, in turn, come back to form individual instruments' toques,

and so on, so that a graduai course is accomplished. The process involves

several events (mostly dominated by timbre and texture), chosen from the

Maracatu reference source and its instruments. These events are artistically

recreated by means of orchestration and texturai organization.

From SubIII-1 the gestalt states already represent some holistic forms of the

Maracatu rhythmic reference source, with its constituent components

contiguously (rhythmically) organized within a sufficiently small measure of time

to allow the perception of a cyclical rhythm. Each time, the components of these

rhythmic gestalts are expressed with emphases on different aspects. The

components of the first (mm. 157-165) are mostly timbrai and texturaI. The

second (mm. 192-203) stratifies the toque of the Marcante drum to emphasize

rhythm. The third (mm. 283-289) presents a coarse version of the Maracatu

rhythm expressed in a series of chords/clusters in rhythmic-harmonic unison, with

different internai and focal densities relating to the several internai articulations of

the rhythmic pattern. A refined version is in the fourth gestalt (mm. 290-298),

where the Maracatu rhythmic reference is expressed by single notes inserted in

passages dominated by "texturai rhythm" and "texturai melody" (explained

below). To close the piece, the second gestalt returns as a short coda at mm.

299-310.

The second gestalt has a special connection with the overall design. In the

passage starting at Subill-l (m. 163), the pattern 9 - 4 - 3 recurs now not

dividing Sections or Subsections, but within a Subsection, dividing episodes of

the three distinct musics (at this point stratified vertically) in ever-smaller time

scales. From m. 182 the divisional points are sonorously articulated by the

timpani and progress in a continuous, written accelerando forward to a frame in

which the partitions are close enough to actually reproduce an identifiable

Marcante pattern. However, the rhythmic pattern presented on the small time-

20

scale does not become explicit except for a brief moment at the end of the

passage, where the gestalt is completely formed (mm. 201-203). This is because

from m. 184 six other 9 - 4 - 3 ·Marcante patterns at different paces are

successively superposed on the first. These are carried out by bongos, double

basses playing pizzicato, tom-toms, piano, bass drum, cellos and violas playing

Bart6k pizzicato. The timings of these 'voices' are also gradually reduced in a

search for synchronization, achieved for a brief moment at the complete gestalt

point (mm. 201-203). However, before the consolidation of the pattern, the

passage 'explodes' in a stochastic disintegration of MBV, at SecIV (from m. 205).

This procedure, as a whole, involves a perceptional issue concerning our

sensitivity to the 'time factor' in music. For the listener, it is practically impossible

to recognize the projection of the Marcante toque in the sectioning of the work's

large form. This is due to the great amount of time separating the 9 - 4 - 3

divisional points, which prevents the Iistener from doing any comparative

temporal processing between these proportions. However, as the 'temporal

fractals' reach smaller and smaller time-scales in this passage, eventually a pace

compatible with our ways of apprehending rhythmic structures in the strict sense

of the term is achieved, and the Marcante pattern becomes more perceivable.

The procedure unifies different temporal spans (sizes) of the piece by creating a

Iink between form (a macro rhythm) and a rhythmic pattern (a micro rhythm).

The passage is strategically placed 'inside' the piece, so that a new formai

dimension is created. Besides one that unfolds linearly in time, there is another

that unfolds (metaphorically) from above to below, as if it were 'falling' within a

funnel, from large to small measures of time.

Comprising a rhythmic pattern, MBV gestalts are based on returning cycles

of short events that represent the articulating points of the pattern. On the other

hand, embodying instruments' timbres and toques, MR undergoes smaller-scale

Zin-Zout oscillations of events that are longer and more continuous. Ccmplying

with the formai plan, only a restricted number of these appear in isolated spots of

the piece. Repetitions only occur in Secill.

The way chosen to bring about these oscillations was to have the

instruments of the MR texture emerge individually. This reflected the aurai

expel-ience resulting from being very close to the Maracatu Rural players. In

incessant movement and in a random fashion, they alternately bring closer to

and carry away from someone who is standing nearby the sounds of the bells on

their back and of the different Maracatu instruments.

21

Among the seven basic sounding elements of the MR ensemble, four are

common or related to MBV's. The common elements (gonguê, ganza, zabumba

and tarol) are explored in the beginning of the piece, where a fusion between the

three musics is intended. Because the intention at that stage is to create not very

defined Maracatu elements, only partial gestalts are formed. The exclusive

instruments, in addition to gonguê, are presented in a more explicit way by

creating more defined gestalts later in the piece: cuica (mm. 57-60), brass (mm.

70-93), bells (mm. 112-117; 140-147), and gonguê (mm. 127-134).

The NTS formai plan, as presented above, includes a discrete design of

how 'energy' f1uctuates in the music. This refers to the increasing and decreasing

of momentum according to large-scale contextual/structural points of arrivai and

departure, forming a special counterpoint mainly between MBV and FrM, as

graphically iIIustrated in Ex. 5.

Ex. 5

................ ~ T o'w'8fd Dissipation

MBV--~====::::::::::::~ ~ TO'w'8fd Gestalts

Ne = Nucleus Chord G = Gestalt

Extra-Musical Associations

To provide the musical discourse with close contextual points of arrivai and

departure, balancing in the short term the varying levels of musical

intensification, there is another kind of interplay: between the three musics and a

surface-Ievel structure that permeates them. This is a 'musical object' that may

exist and inhabit the musics' counterpoint just as a 'melody of timbres' may exist

through a chord progression or a melody. In NTS this musical object is derived

22

from an extra-musical association - the sea. In a coastal city like Recife, the sea

imposes a profound influence on its inhabitants and on their customs. This

influence is reflected in the special meaning the sea has to Maracafu de Baque

Virado. In this Maracafu the sea is sometimes represented bya black doll carried

by the dama-do-paço, called deus calunga, meaning 'sea god.' Sorne authors

refer to the dance movements of Maracafu de Baque Virado as an homage to

that deity. Indeed, the undulating movements of arms and hands of the Maracafu

dancers evoke the movements of the sea waves. Also, several Maracatu songs

refer to the sea, like the one quoted in NTS (see below). The association with the

sea in NTS is carried out by evoking the noises of the sea waves. To implement

this, the piece presents a continuai oscillation of different densities, dynamics

and orchestral weight.

The aurai progression of the piece may also reflect sorne aspects of

Maracafu de Baque Virado procession and the ceremony Noife dos Tambores

Silenciosos, as perceived by someone present in the forecourt of Nossa Senhora

do Terço church. Elements in Zin stages may evoke distorted sounds from the

ensemble as perceived from a distance; Zout may relate to the clarification of the

rhythmic patterns due to the approach of the ensemble; the culminating point of

stillness and quietness within Part Il (mm. 246-255, after the arrivai of FrM in its

timbre state) is a reference to the special silent moment in the ceremony Noife

dos Tambores Silenciosos, in which canticles are sung to eguns; the

transcendence zone in Part III may recall resuming of playing and leaving of the

Maracafu ensembles.

23

PITCH ORGANIZATION

Common Pitch Material

My starting point in organizing pitch in NT5 was to establish a basic

collection that synthesized the original pitch materials of the two Ma ra ca fus

(typical scales, pitch structures, etc.) and, in parallel, served as referential pitch

materials for the three types of music that are formed in the piece.

There are no systematic studies about the scales used in the Maracatus,

aside from a few references made by Guerra Peixe (1955, 119). 50, in order to

have a general view of the original pitch structures, 1 studied songs documented

by Mario de Andrade during the 1920s (1983), analyzed sources 1 found in old

recordings in the museums of Recife, and conducted brief field research during

the Pernambuco Carnival of 2001. The kinds of raw materials found in the pitch

domain included the following:

Toadas of MBV Loas ofMR MR (Instrumental parts) Major and Minor Scales Modo Nordestino 1 Major and Minor Scales Modo Nordestino r Major and Minor Scales Pentachord [0,2,4,7,9] Pentachord [0,1,3,5,8] Pentachord [0,2,4,7,9] Modo Nordestino 1 Tetrachord [0,3,5,7] Pentachord [0,1,3,5,81 Pentachord 10,2,4,7,9] Modo Nordestino Il Tetrachord [0,1,3,8] Tetrachord [0,3,5,8]

It was observed that the melodies of the Maracatus are mostly tonal, a

result of a prafound process of syncretism with Occidental music. However,

original sources are still present in sorne of them, notably the pentatonic

collections [0,2,4,7,9] and [0,1,3,5,8]. The traditional [0,2,4,7,9] is very

characteristic of the foadas of Xangô, the version of Candomblé ritual fram Bahia

in Pernambuco. Like this one, the [0,1,3,5,8] pentachord probably has its root in

African music. A similar pitch organization is found in the music of the Bahutu

and Batwa Pygmies in Rwanda (Brandel 1952, 22-27).

The selection of the [0,1,3,5,8] pentachord, a less corn mon collection than

[0,2,4,7,9], was a starting point to build up the pitch system. It is a variation of

4 There are three characteristic scales in the music of northeast Brazil, called Modos Nordestinos. The first and second are equivalent to Mixolydian and Lydian Modes respectively. The third mixes these two, as in the scale C-D-E-F#-G-A-Bb-C.

24

[0,2,4,7,9], with the dislocation of one note. Due to this note displacement it

incorporates three triads and three points of gravitation, instead of two as in

[0,2,4,7,9], coming closer to a tonal interpretation. Another peculiarity is that a

ladder of four thirds (alternating majors and minors) may be constructed from the

pentachord. The successive piling up of thirds circumvents octave organization.

Ex. 6 iIIustrates these characteristics.

Ex. 6

[0,1,3,5,8) Triads Ladder ofthirds

4 ~~ j~ M3~ ~I~m3-e9

• ~ ~

• # 0 e9 OS

An example of a MBV toada using this collection is Nas agua Verde do

Ma, collected by Guerra Peixe (1955, 145). This song, transcribed in Ex. 7,

served not only as a reference for the pitch material, but also as a source for the

texturai melody in Part III of the piece.

Loue.. ~

4~~ p 51 Op an fJ ~1J) P ~~J Nas li - gua ver- de do mé. Tem um pa- que - te bu - ni -(toI Nas é. - gua .. er- d~ do mé.

4~P n f:UJ ~n-n ;yr~JP ft ~ 3J Tem um pa-que-te bu -ni- (to) Q d f ' ---- si - na Eu a - Vis-tel Por - to Ri-uan- ~o a- ro deu

l . + QueM

4-#]7 Ci qp1JI1J fJ _1]7 Ci Op~:J '-/ "'-" '--' "'--""

(co)Quand~ fa- ra deu si - né. Eu a - 'vis -tei Por - to Ri - (co) Nas a - gua ver- de do ma

t~·· y * Il (co)

5 The text uses incorrectly spelled Portuguese words, meaning: "There is a beautiful ship on the green waters of the sea; when the beacon signaled 1 saw Porto Rico" (reference to one of Recife's Maracatu associations).

25

1 completed the referential pitch collection for NTS by including the

retrograde inversion of the [0,1,3,5,8] pentachord. It is interesting to note that

such an inversion, [0,3,5,7,8], although not explicitly found in the Mara ca tus, is

listed among the pentatonic scales of African music in an essay named A Musica

Africana by Maria de Lourdes Borges Ribeiro (1973, 25).

The referential pitch collection was built up by combining the two sets,

[0,1,3,5,8] and [0,3,5,7,8], in su ch a way that, in a registrai environ ment, the first

note of the first coincided with the last of the second. From this registrally

organized pitch structure 1 abstractly chose a) the five central pitches to form the

pentachord [0,2,3,4,6] and b) the two outer notes of each side to form the

tetrachord [0,1,3,4].

While the collection as a whole is intended to provide harmonic coherence

and unit y in the pitch domain, its different segments are assigned to the three

different types of music, helping these in their identity and stratification.

Accordingly, MBV fluctuates between the complete collection (nts), the [0,1,3,5,8]

pentachord (mbv1) and the [0,3,5,7,8] pentachord (mbv2); MR is based on the

[0,1,3,4] tetrachord (Tch); and FrM on the central pentachord [0,2,3,4,6] (Pch); as

shown in Ex. 8.

Ex. 8

nts

,., mbv2 mbv1 ----

/ ....... -. '":"

~ 11_ 11

/ Peh

-ro

Teh

These materials develop in a two-fold scenario: one in which registrai

organization is taken into consideration, and another in which register is not an

important issue for the identification of specific sets (octave equivalence is taken

into account). Connected with these factors, basic pitch systems applied in the

26

music include varied modal treatment and a version of a limited serialism 1 cali "motivic serialization," explained below.

The piece uses microtones to some extent, but they are not systemic themselves; rather they navigate around the mentioned collections, coloring their notes and influencing in the textural-timbric aspects of certain passages of the music. They also are part of a transformational process that helps to build up the piece's design. In the pursuit of its timbrai (white noise) destination, FrM crosses a path from a 12-tone organization (mainly from m. 94) to microtones (m. 239), while MBV and MR perform a counterpoint to this by going from a 12-tone organization that includes microtones (from the beginning) to the total clarification of the 12-tone system, with no microtones (from SecVI, m. 256).

The procedures used to organize the pitch collections mentioned above into high-Ievel order units are explained in the following sections.

FrM

ln the process of transformation the FrM goes through, the units in each structural level serve as the basis to produce the units for the next higher level according to the palimpsest technique cited above. The process occurs in two stages, after an introductory segment in which none of the three musics are characterized yet. The first stage involves the following steps: establishment of Nucleus Chord 1 (NC1), at the beginning of the third segment of SubI-I (from m. 20); reiteration of this chord in varied forms (until m. 63); creation and dissipation of a texturai unit played by the strings (mm. 70-91). Because this stage develops within SecI, where the musics go from a fused state to horizontal stratification, these steps are not so c1early defined, so that the Iistener may perceive an 'amalgam of sound' in the passage. The steps of the second stage .. starting at SecII (where vertical s~ratification is intended) and going until SubV-2 (where FrM ends), are better defined and incorporate in a clearer way the transformational process of FrM. First, Nucleus Chord 2 (NC2) is presented and reiterated (mm. 96-135). Then, selected recurrent pitches/intervals are taken from it to create particular motives (mm. 136-156). These, in turn, serve to produce new types of textures by means of a cumulative process (mm. 157-220). In alternation with MBV and MR unfoldings, the procedure develops until the establishment of a timbre as the last level (mm. 238-244). This timbre is close to white noise,

27

implying that no more meaningful units are at work, and determining thus the conclusion of FrM.

The Pch - an approximation of the set formed by the partials 10 to 14 of the harmonie series - was chosen to write FrM due to some intrinsic qualities and suitability to the compositional techniques applied here. It becomes autonomous from the nts collection and unfolds in several harmonie scenarios, according to the hierarchic structurallevels demanded by the formai plan.

Intended to be identifiable units of a high-Ievel order, the two nucleus chords were derived from discrete transpositions of Pch. These were freely chosen, according to the intended tonal colors of the chords, and worked out in an octave equivalence context.

Ex. 9 presents a table with the transpositions of Pch [a], reductions of NC1 and NC2 and some of their reiterated forms [b].

Ex. 9

[a]

Pch

CD CD CD

@ ~'" 0#0 '" Q 1 .. #" .. u .. #,,1 ,,"i"" .. 1 o 0 CD

@ #"i" "" .. " 1", é .. ij"'#"lu .. #" '" " "'1 . ® @ ®

28

[b]

8va, 8va, 09-

~\ -- -~ - -

/~09- ~09- ~: #~ ~~ 09-'1.

1, '1. ,~" " \ (8 ..... I~ ~ 09- 09- ~~ ~ :8: .a... " - l'Q. 7'.l".. - 1 - - - .... 1": ';J ~ • • • . .... 0 -. ~ ,..... 1"'- ... ... ... M ""f~ -6 J~ _ fi' f! _ fi f! :;,1 fi " fi' :0 1..-. It. ~09- +- =~ .... ~ .... '~ ...

~:~ ... @< 0 0 0 0

L ~ _\

Y"~ l' ~09- .. 09-

fu .a... ~ ... ...-. •• - " - f".) fi' Goo'_ ; -1',,- -. 1:T ?')"" ~~/ ~

-};- -09-

09- 09- 09-

•• 1

- ~/ " ~1:T ~?')"" 8vbJ 8vbJ

" .... _------', ' .... _------', '---/ ' , NCt Recurrences NC2 Recurrences

A factor lin king the two chords is the presence of the two focal pitches that pervade the whole piece (E and Sb) as their outer notes. Their internai content, however, differs: while NC1 is lighter and almost symmetrical, emphasizing intervals M2, M3, P5 and M6; NC2 is darker, more angular and asymmetrical, emphasizing intervals m2, d5, and m6.

To form the new palimpsest layer, NC2 is literally 'broken' in time by having sorne of its pitches played gradually out of synchrony (mm. 135-139). Secause the pitches recur contiguously in melodic fragments shaped by common intervallic and basic r~ythmic patterns, a higher-Ievel order carried out by units that can be called 'cells' or 'motives' is created. Leading a 'life' of their own, these subsets constitute a second generation of the Pch, to which they are not directly linked anymore. As shown in Ex. 10, the identifiable cells share a common registrai shape and are initially represented by the collections [0,2,4], [0,1,4], [0,1,5,7] and [0,1].

29

Ex. 10

NC2 at m. 135

,., ~

~

~ ~ -06-

;..

19-

,. » , •. fI'."

I -19-

[0,2,4)

Il

u. Il

ii Il Il Il

:: .,5 ....-.! Il ~ .~. IL .ff - ~ tr-Il .... Il. ... ~ -.~

[0,1,4) [0,1,5,7]

~":" 6 *- -; ~ ... -

~ 04 \ ~. J

'"'f .,. :"'~J +J

-1 1

1 1 1 1 1 1

u.

1 1 1 1 1

[0,1) 8va------,

~*~. ~ UIl

.11" -..1

01-) Extra note **) Ootave displaoement

1 1 1 1 1

From the dense counterpoint in which the cells are immersed (mm. 141-

156), the [0,1,4] trichord emerges as basic material to build the texturai units that

form the next palimpsest layer. The following techniques are employed to

construct such textures: 1) piling up and displacement of trichords in a few

different transpositions (mm. 176-180); 2) piling up and displacement of trichords

in several different transpositions (mm. 190-192); 3) piling up and displacement

of several trichords in the same transposition forming first-Ievel textures 'a' (180-

183); 4) superposition and displacement of first-Ievel textures 'a' in different

transpositions forming second-Ievellayers 'A' (mm. 184-186); superposition and

displacement of second-Ievel textures 'A' in different transpositions forming third­

levellayers 'M' (mm. 187-190)

The last palimpsest level of FrM creates a somewhat stereotypical timbre

in the guise of white noise (mm. 239-242). The idea was to produce a musical

event that one could perceive just as sound, devoid of other basic parameters'

elements, to signal the end of FrM. Because white noise is partially caused by a

multitude of clm~e fr~quencies,6 a graduai construction of c1usters was the

chosen path to approach it. The modus operandi was first ta thicken the texturai

units by increasing the number of superimposed cells (mm. 119-120). Then a

modal treatment was applied to Pch, within a registrai framework (from m. 119).

This is based on the distribution of the twelve transpositions of Pch, each one

separated by a semitone, throughout the totality of the convention al tonal

6 White noise has, in theory, ail frequencies from zero ta infinity, with equal energy throughout the range.

30

spectrum. The result is the creation of seven kinds of intervallic divisions or

different tonal spectra, shown in Ex. 11.

Ex. 11

Because each Pch is circumscribed by an augmented fourth and each

transposition occurs at a perfect fifth interval (instead of the octave), there are no

31

recurrences of Pchs with the same pitch-class content and no patterns starting

on the octave. In addition, each Pch becomes registrally important, as each

appears only once in a determined registrai position among ail the possibilities.

The clusters that approach the timbre state of FrM are built in the first

stage on the notes of these Pch tonal spectra (mm. 118-120, strings). Secondly,

at mm. 121-134, totally chromatic c1usters are structured by filling in the empty

spaces of the Pch spectra with mbv1 and mbv2 organized in a piling up of major

and minor thirds (played by the winds). In this way, mbv1 and mbv2, representing

MBV, effectively 'fuses' with FrM. Third, a microtonal version of the Pch spectra

is also applied to the aggregates that immediately precede the final white noise

timbre - at mm. 237 and 238 the c1usters are formed by quartertones

superposed in a 2-1-1-2 ... intervallic relationship before the full 1-1-1-1 ...

quartertones' final cluster arrives.

Serving as harmonie fields for units of not so much higher a level than the

fields themselves, these tonal spectra are not only effective for composing

clusters. In their horizontal dimension, they are also useful in writing transitional

passages and creating textures formed by many simultaneous fragments of their

'scales.' Ali seven intervallic divisions are used in NTS: vi from m. 1; iii from 45; i

from 49; iii from 60; vii from 70; ii from 190; iv from 224; v from 229; iv from 233.

MBV

ln the process of building up a Maracatu rhythmic pattern, MBV

incorporates units that go from specifie timbres, textures and sound masses,

passing by special chords focusing different densities, to single notes, at the end.

With such different units, its musical discourse demands flexibility in organizing

pitch. To realize this, three interrelated pitch collections operate in MBV - nts and

its disassembled ~ubsets mbv1 and mbv2.

ln the introductory segment (mm. 1-19) a series of nts collections in their

original registrai organization is applied to compose timbres and textures that

express the fused sounds of MBV and MR. Although alternating with passages

based on the tonal spectra of FrM, they are clear enough to implement the initial

music with characteristic tonal colors.

From the third segment of SubI-l to SubI-3 (mm. 20-93), MBV follows its

way to achieve horizontal stratification, while at the same time proceeds with the

formation of partial gestalts of the instruments' toques from the Maracatu

32

reference source. The musical events here are timbrai/texturai units, sound

aggregates and chords built also on complete nts collections, but now in a

context of octave equivalence, as in a conventional mode. It is verified that the

nts pitch content coincides with Messiaen's third mode of limited transpositions

(2-1-1-2-1-1-2-1-1). Its four possible transpositions are used in this passage

according to a systematic rotation described in Ex. 12.

Ex. 12

x = {1 H HI IV} -+ Set W'ith the four transpositions " " , of Messiaen's Mode 3

o = {l, H, HI} (1) = {H, HI, IV} } Subsets of X taki ng 3 elements

@={I,HI,IV} GJ={H,IV,I} atatime

@HI IV 1

@IV HI 1

GJIV H 1

0H 1 HI

(1)IVHIH

01 H HI

Actual disposition in the music

From the vertical stratification on (SecII, from m. 94), when the elements of

MBV achieve even more holistic forms by means of chords, texturai units and

sound masses, and until the third MBV gestalt (mm. 283-289), based on chords

of different densities, the two partitions of nts are stratified. In this way they help

the musical events to express the distinct elements of the Maracafu rhythm.

The sets mbv1 and mbv2 are applied separately in a technique

designated by me as "motivic serialization." This consists basically of

implementing principles of permutation to the pentachordal set. While this

specifie type of set articulates pitch-relationships on the local level, extended

moments of music are built according to the permutations of second-Ievel sets

formed by the diverse arrangements over time of the transpositions of the

33

pentachordal set. The process resembles the twelve-tone dodecaphonic method,

with the difference that each element of the "series" (the second-Ievel set here) is

an mbv1 or mbv2 instead of a single note. The permutations applied to the

pitches of the transposed sets are freely chosen among their 120 possibilities.

The organization of the second-Ievel set may borrow conventional techniques of

seriai music (retrograde, inversion, retrograde inversion, etc.) or simply be free,

as is the case in NTS.7 Ex. 13 exhibits a table with the transpositions of both sets

[a] and reduction of a passage written using motivic serialization (employing

mbv2 to portray meiao and repique)8 lb].

Ex. 13

[a]

mbv1

CD CD CD mbv2

~ - 1 1 1° CD CD 50 0 (;~(;

7 Stricter versions of Motivic Serialization were employed in previous pieces of mine. In these earlier versions symmetrical sets (trichords, tetrachords and pentachords) serve as the basic units of the system, and bigger sets of second and third levels are used. 8 Motivic Serialization applying Pch is also briefly used in FrM to write transitional passages approaching and leaving NC2 (mm. 94-97 and mm. 106-110).

34

lb]

274 275 276 277

~ ~~2:8~ r-= ~'"' i.~ ,...., ~ tll: " • . ' '1,,- - ':;

~ Ill: jL ,-, , ....... 1: VI: Il ..... • "1": L.-. • - ~ , 'I,,[J- .. -.' ' . • • ' ."':; ,:;, -,-.. 1: ~' ,'. :. ' '. t.~;- • ~~ P'-~

~~ ~O' .. ~ ~~:

p' .... p~ .::::::;. '

~===: , - ....... - l' '--

~~ b /'J ~ 1 .. ~ """' , ,""" 1-: ~ ~-'IIt'b. • , lItL.-.

_ r- - '- ttMc;;,. c;;,., loi.- -, ~ i.- - i.-, 10 -' -, .' "ff" ff~~ ff [J_ r- . ffr- ,r- '1 ......, ff '1 \ 'J - ~ .. ' --- '-'

~® <D CD <D ® (]) --- CD ,1, - 10 L" ;:;.

l!L-ot.. - ...... _'1" ~~ ~

10._ - ff- ;"). ,~ nQ ...... ,~

, ~ ... ~ "\.:]

-S-b. -e- b. -& , ~ -" - 0

",.rf-ff. ff 1 .. ff- fi' f 'Il" ~ ~

,., @(+note"C") 0 CD (0 @ 1. ® tir.,:) .'1

~ -~ ,\'-~ - I.,r.,:, .:l- \.:] 10 ...... - Iff..- . ::;, 11_

t. , "-oe- f1 \.:]

~~ ~ P41',-J.~ If'

~s ~.L l'

-& ..Q. ~o L_ ~_ -" " 10-

" .~""'" - 'I-f ff- 0

ln the last rhythmic gestalt (mm. 290-298), in which more explicit rhythmic

patterns are intended, pitch is organized according to the techniques 1 cali

"texturai rhythm" and "texturai melody." ln the tirst case, a multitude of sounds is

organized to form a sound mass, but in such a way that, by means of their

particular placement in time, register and density, small rhythmic patterns fram

MBV may be perceived diffusely emerging fram the sound mass. The idea is

extendible to the melodic realm, as these factors may be put to work to also form

a diffused texturai melody inside the sound mass. Thus, the sound mass plays

off against a melody (texturai melody) and against rhythmic patterns (texturai

rhythm) that are made, of the sound mass's own constituent pitches. Because the

listener may shift attention between the texturai (global) and the melodic

(internai) dimensions that run simultaneously - or even perceive their

simultaneity - one can say that a counterpoint of different parameters or musical

dimensions is at work.

This is accomplished here first by assembling a version of the rhythmic

pattern with 'melodic' interpretations of the toques of the Maracatu instruments

(by simulating their register, contour, accents/agogics and rhythm). The melody

35

quoted from Maracatu de Baque Virado (Nas Agua Verde do Ma) is inserted in

the passage in broken octaves, as shown in Ex. 14.

Ex. 14

TarDI

Repique 1 Meiao

Marcante

36

The pitches are then distributed among the participating instruments of the

sound mass (f1utes, oboes, clarinets, bassoons, trombones, piano and harp with

similar articulations and dynamics) creating a special case of a hocket technique

and/or klangfarbenmelodie. Ex. 15 shows the realization of this in mm. 290-293.

Ex. 15

Bn2

Tbn1

37

MR

With its more flexible Zin-Zout model, MR displays an even more

malleable and changeable pitch organization.

The elements of the MR ensemble that are common to MBV (gonguê,

ganza, zabumba and taro~, explored in the fused music of the beginning of the

piece and in the horizontal stratification, also share MBV's pitch treatment -

based on nts as a conventional mode. In a more explicit and exclusive way, the

cu/ca element (mm. 51-60) is brought about in form of string glissandi whose

referential notes (of departure and arrivai) belong to tonal spectra similar to those

of FrM. The difference here is that the spectra are created by applying Tch

instead of Pch, resulting in five intervallic divisions, displayed in Ex. 16.

Ex. 16

38

These Tch spectra also form the framework to write the brass element of

MR in mm. 70-92 and the gonguê element in mm. 127-134. At work in these

passages is a Zin-Zout process in which the elements are intended to emerge

more explicitly, as in a highly stylized quotation. This involves a different modal

treatment: a motive or a line is created in su ch a way that, by means of

appropriate register, appropriate accents/agogics and rhythm, it becomes a

'comprised' unit, isomorphic with the Maracatu element. This motive or line is

then multiplied and distributed in a canonic fashion to produce an organized

texture or sound mass. The internai components of the canonic texture are

related to Maracatu, but its global dimension may display a distinctive design.

Accordingly, to compose the brass element sorne cells taken from typical

brass melodies executed by the Maracatu Rural players are reinterpreted within

the context of a Tch tonal spectrum and applied in a canonic texture. To

construct the gonguê element, a similar procedure is applied using as reference

the typical 2-pitch toque of the instrument.9

9 Motivic Serialization applying Tch is also briefly used in MR in passages conveying the bells element (played mainly by percussion and horns at mm. 112-117 and mm. 140-147).

39

ASPECTS OF RHYTHM AND ORCHESTRATION

As mentioned in the Introduction, the defragmentation process of NTS is

intended to allow for predetermination (by means of established procedures

using several techniques) as weil as intuition and freedom of artistic decisions.

The latter is particularly appropriate in the management of rhythm and

orchestration.

Rhythm is approached in a very paradoxical way in NTS. In its macro form

(as the incorporation of a Maracatu rhythmic pattern in MBV) it is not only the

most predetermined element of the piece but also one that is quoted literally from

an external source. At the same time, in its internaI form (micro-rhythmic

structures forming the several units of the music surface) as weil as in its related

aspects, like tempo fluctuations, rhythm is approached intuitively, having as a

central criterion the writing of relatively easy passages for the individual players.

Accordingly, the most irregular rhythmic divisions used in the piece are those by

5 and 7, the rhythmic complexity of many passages originating from the free

superposition of the different divisions.

Compositional freedom is mostly expressed in the orchestration. Having so

much structural importance for the piece (in executing the timbraI and texturaI

aspects of MBV and MR), orchestration was given the most artistic freedom in

the compositional process, so that a balance could exist with the several

predetermined factors.

The process involved not only conventional orchestration techniques

(related to chord build up, creation of pedals, establishment of background and

foreground layers, oichestral weight, etc.), but also not so common procedures

(to convey colors associated with the Maracatu instruments, textures of different

densities, texturaI melody, texturaI rhythm, microtones as colorist agents,

association with sea w.aves, etc.).

Two general ideas guided the approach to orchestration. The first was to

make the orchestra work as a single, autonomous polyphonic instrument (by

means of appropriate mixes, blends, matches, balance). The second was to

create dynamic, 'live' sounds - sounds in constant transformation. This is

inspired by Varèse's idea of 'sound as living matter':

There is an idea, the basis of an internai structure, expanded and split into different shapes or groups of sound constantly changing in shape, direction and speed, aUracted and repulsed by various forces. The form of the work is the consequence of this interaction (1967, 203).

40

ln NTS the "groups of sound ... changing in shape ... attracted and

repulsed by various forces" are the folk elements/structures in the

defragmentation context. Some of the obvious ways to implement such

characteristics are: gross variances of register and dynamics, variations in the

mass of the sounds (by different doublings), use of glissandi, and use of

heterophony. Other ways include: creation of different kinds of sound masses

(with different rates of internai activities); transference from foreground to

background positions (see mm. 140-147, for example), to produce sensations of

presence and distance; and creation of synthetic and 'moving' sounds. The latter

is mainly achieved by making one instrument alter the sound of another through

diverse types of pitch interchange (involving exchanging of attack, sustain, decay

or cutting among different instruments). In the pitch interchange, various

combinations of sounds are applied. Some of these sounds include: sustained

notes, simple trills, quartertone trills, same-pitch tremolos, different-pitch

tremolos, mute trills, repeated notes at different speeds, fluttertongue, special

articulations (pizzicato, Bart6k pizzicato, etc.). In this regard, a path linking the

main elements of the formai plan was established: a course from more

'orchestral' to 'synthetic' sounds occurs in the FrM, while a path from 'synthetic'

to less 'synthetic' sounds happens in MBV.

The chart in the next page shows some associations between

instrumentation and elements of MBV and MR.

41

MBV Zin Zout Gonguê • String harmonies, vibes • Piano, vibes, harp

with bow, clarinets, f1utes • Piano with pedal, vibes • Vibes and crotales with (motor on) with pedal, bow marimba high register

• Brass alternating mute positions • Trumpets

Ganza • Strings (trills of • Strings (fast tremolo) microtones)

-Ta roi • Fluttertongue (ww and • Wind trills brass) strings tremolo • Strings (pizz • Strings (trills of tremolando) microtones)

Zabumbas • Double bass microtones • Piano and harp (Iow (Iow register) register) • Double bass glissando • Double bass pizzicato, • Double bass, double bass arco, contrabassoon, bass contrabassoon trombone, tuba (sustained notes in low register)

MR Cuica • String glissando (high • String glissando (Iow

register) register) • Strings (increasing bow

1 pressure) Belis • Cowbells, brake drums, • Cowbells, woodblocks,

metal blocks, horns, harp temple blocks, marimba Gonguê • Cowbells, xylophone,

piano, vibraphone, marimba • Woodwinds, trurT}Rets

Brass • Winds • Winds

42

CONCLUSION

The writing of NTS represented an attempt to develop a musical language

that could involve folk materials in a new way.

The language restricts the folk materials to micro elements and avoids the

emergence of actual folk material (Iike tunes or typical extended rhythmic

patterns) to the surface of the music.

A short rhythmic pattern from Maracatu de Baque Vira do and sorne toques

and timbres from the instruments of Maracatu Rural are approached in a

'microscopie' way so that parameters like timbre, density and register can be

explored and made to work structurally.

Connecting materials and structure, a compositional process of

defragmentation is at work. It governs the expansion and contraction in time of

the reference sources resulting in the creation of discrete musical contents.

The process involves a free artistic interpretation and recreation of the micro

and macro aspects of these sources (by means of Zin and Zout respectively). It

also implements transformational and transitional states between these aspects,

making possible the creation of a specifie design on a large-time scale.

The composition includes a third element that has no folk connection but

unfolds according to a palimpsest technique. The interplay between the three

types of music (MBV, MR and FrM) originating from these sources constitutes

the main carrier of the musical discourse.

ln a structural role, the composition of timbres in the piece (accomplished by

orchestration) allows for much of the mentioned artistic freedom, as the

associations with the instrumental timbres, textures and sounds of the folk

sources are established very intuitively.

Explained in more detail in this paper, the organization o'f pitch (an aspect of

the pieee which is not very obvious), is accomplished according to several

procedures, including modal treatment, new tonal spectra, canonic textures,

motivic serialization, texturai melody and texturai rhythm. Despite this variety, the

pitch system guarantees the piece an overall sense of intervallic coherence due

to its intrinsic qualities and common materials that permeate the whole work.

43

BIBLIOGRAPHY

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Giffoni, Maria Amalia. 1964. Danças Folcl6ricas Brasileiras e suas Aplicaçoes Educativas. Sao Paulo: Companhia Melhoramentos.

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Pinto, Tiago de Oliveira. Carnival in Pernambuco/Brasil (Compact Disc with liner notes in English and German). Berlin and Hamburg: International Institute for Traditional Music and Hamburgisches Museum für Vôlkerkunde, 1992.

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