Explorando a execução de técnicas estendidas no oboé encontradas em quatro peças contemporâneas

This dissertation presents an investigation of the evolutionary process of extended oboe techniques, through literary analysis and practical research. The objective of this work is to provide assistance to oboists interested in learning these techniques. Additionally, this work encourages the student, through the process of experimentation, to explore the questions that may arise around the aesthetics of sound, the concept of gesture as an additional visual and aural element in music, and the collaboration and “real-time” creation processes. Discussed within the work, are the relationship between the instrument (the oboe) and extended techniques, and two possible definitions of extended techniques, provided by Luk Vaes (2009) and Gardner Read (1993). Also explored are the how and why some composers have utilized extended techniques in their compositions, including brief discussions relating to extended techniques in real-time composition (improvisation), extended techniques and technological resources, theatrical gesture as an extended technique, and suggestions of how musicians might approach theatrical gestures in performance. Four works were visited: “I Know This Room So Well” – Lisa Bielawa (2007-9); “Four Pieces for Oboe and Piano” – Ernst Krenek (1966); “In Freundschaft” – Karlheinz Stockhausen (1978); “Atem” – Mauricio Kagel (1969-70); and an exploration of the difficulties and solutions associated with each extended technique found within these pieces, was carried out. The following founding works on extended oboe techniques were used, as a basis for research: books - Heinz Holliger’s Pro Musica Nova (1972); Gardner Read’s Compendium of Modern Instrumental Techniques (1993); Peter Veale & Claus-Steffen Mahnkopf’s The Techniques of Oboe Playing (1994); and Libby Van Cleve’s Oboe Unbound: Contemporary Techniques (2004); and articles - Nora Post’s “Monophonic sound resources for the oboe: Part I – Timbre” (1984), “Part II- Pitch and other techniques” (1984), and “Multiphonics for the oboe” (1982).

Essa dissertação apresenta uma investigação do processo evolutivo das técnicas estendidas do oboé, através de uma analise da literatura e de pesquisa em prática. O intuito deste trabalho é facilitar a aprendizagem dos oboístas interessados em estudar essas técnicas. Além disso, através da experimentação, o aluno é encorajada à explorar as perguntas subsequentes sobre a estética do som, o conceito de gesto como elemento visual e sonoro adicional, e os processos de colaboração e criação em “tempo real”. No decorrer do trabalho, são discutidas a relação entre o instrumento (o oboé) e as técnicas estendidas, e duas definições possíveis de técnicas estendidas, oferecidas por Luk Vaes (2009) e Gardner Read (1993). São abordados a forma e o motivo pelos quais alguns compositores têm utilizado técnicas estendidas em suas obras, incluindo breves discussões sobre técnicas estendidas na composição em tempo real (improvisação), técnicas estendidas e recursos tecnológicas, gesto cênico como técnica estendida e sugestões para o músico querendo abordar gestos cênicos na performance. Quatro peças foram analisadas: “I Know This Room So Well” – Lisa Bielawa (2007-9); “Four Pieces for Oboe and Piano” – Ernst Krenek (1966); “In Freundschaft” – Karlheinz Stockhausen (1978); “Atem” – Mauricio Kagel (1969-70) e foram investigadas as dificuldades e soluções associadas a cada técnica estendida encontrada nas peças. As seguintes fontes sobre técnicas estendidas foram utilizadas como base de pesquisa: livros - Heinz Holliger’s Pro Musica Nova (1972); Gardner Read’s Compendium of Modern Instrumental Techniques (1993); Peter Veale & ClausSteffen Mahnkopf’s The Techniques of Oboe Playing (1994); e Libby Van Cleve’s Oboe Unbound: Contemporary Techniques (2004); e artigos Nora Post’s “Monophonic sound resources for the oboe: Part I – Timbre” (1984), “Part II- Pitch and other techniques” (1984), and “Multiphonics for the oboe” (1982).