Journal article Open Access

O Dito e o (Re)dito na Obra para Acordeão de João Pedro Oliveira: uma Proposta de Análise

Helena Maria da Silva Santana; Maria do Rosário da Silva Santana

In his catalog of works, João Pedro Oliveira has two works for accordion - L'Accordéon du Diable (2006) for amplified accordion and tape, and Prisma (2007, 2011) which has two versions: one for flute, piano, accordion and percussion, written in 2007 and revised in 2011, and another one, for tape, cimbalom, accordion and percussion, composed in 2007. When asked about the work L'Accordéon du Diable, João Pedro Oliveira states that it has several references, namely the fourth augmented interval – Diabolus in Musica; Nicolas Paganini - The Devil's Violinist; and Giuseppe Tartini - Devil's Trill Sonata. The basic idea of L'Accordéon du Diable is, according to the composer, the spread of an insane virtuosity. In the case of Prisma (2007, 2011), the composer intent to expresses the idea contained in his designation. In this sense, it shows that sounds are refracted and decomposed into their minimal elements, which are later used to compose new objects, gestures and sound speeches. Through the analysis of those works, we intend to show the evolution of the composer's writing, the various discursive and compositional techniques that he exhibits there, as well as the constructive ideas contained in his designation. In the case of Prisma, one version is for acoustic instruments and the other for acoustic instruments and tape. Showing how the action of the prism expresses itself, and how the composer builds both sound universes, is a challenge to accept and conclude.

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