Mudar Luíza

Interpretação e empréstimo musical no Pós-Tudo 1 de Bruno Ruviaro

  • Joana Cunha de Holanda
DOI: https://doi.org/10.34624/impar.v3i1.3932
Keywords: Empréstimo musical, Performance, Pós-Tudos, Piano

Abstract

Eleven of the twelve piano studies of the “Pos-Tudo” series (2015-2016) by Brazilian composer Bruno Ruviaro (b.1976) reuse and/or transform musical material from diverse sources, from Brazilian popular music, American pop music to French classical music. The title of the series is inspired by the homonymous poem by Brazilian poet Augusto de Campos (b.1931). This article: “Change Luiza: Interpretation and Musical Borrowing in Pós-Tudo no1 by Bruno Ruviaro” will discuss the processes of “musical borrowing” (Burkholder, 1994; Ruviaro 2010) in Pós-Tudo no1, dedicated to the author and inspired by the song Luíza by Tom Jobim (1927-1994). Inspired by the taxonomy proposed by Burkholder, the text offers a reading of the processes of musical borrowing used by Ruviaro dialoguing to the piece ́s performance. Both composition and performance have the song as a guiding reference. This article exposes the dynamics of this triangulation in the performance of Ruviaro ́s Pós-tudo no1.

References

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Ruviaro, B. T. (2010) Intellectual Improperty: Musical Borrowing as Manifest in Acoustic and Electroacoustic Compositions. (Doctoral Thesis). Standford University, Palo Alto, California, Disponível em: https://searchworks.stanford.edu/view/8652471
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Published
2019-08-02
Issue
Vol 3 No 1 (2019)
Section
Articles

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