Resumo

Este trabalho procura fornecer uma visão geral sobre centricidade – termo usado para designar estratégias de priorização de classes de notas que escapam tanto às técnicas de análise tonal tradicional como às técnicas de análise ligadas ao serialismo – ilustrando diversos conceitos, processos, mecanismos e materiais ligados a esse fenômeno, e envolvendo autores estilisticamente tão diversos quanto Richard Strauss, Bartók, Stravinsky, Schoenberg, Hindemith e Thomas Adès. À luz dessa investigação, examinamos analiticamente a nossa obra para clarinete solista e orquestra.

This work aims at providing an overview on the subject of centricity, illustrating several concepts, processes, mechanisms and materials involved in pitch class prioritization which is not well explained by tonal or serial analytical techniques, and refers to a large repertoire which includes works by composers as stylistically diverse as Richard Strauss, Bartók, Stravinsky, Schoenberg, Hindemith and Thomas Adês, among others.

The study was paralleled by compositional activity also related to the subject, and the work includes an analytical examination of our composition Three Movements for Clarinet and Orchestra.