Resumo

Este trabalho propõe-se à uma breve análise da peça para violão Canticum, de Leo Brouwer. Além da discussão sobre os aspectos composicionais, discutiremos elementos relacionados ao tempo e suas matizes de determinação ao longo da obra. Conceitualmente, o escopo teórico do qual nos valemos ancora-se nos estudos da linguagem propostos por Saussure e Hjelmslev, pais da moderna linguística estrutural, que serve de base à Semiótica de linha francesa. Nos aspectos relativos à análise musical, tomamos como referência, principalmente, as obras de Kostka e Straus. Foi possível observar, ainda como resultado parcial, o jogo de oposições internas do discurso musical e a inserção do tempo musical como elemento significante entre os parâmetros que regem a construção do sentido na obra.

This paper proposes to make a brief analysis of the guitar piece Canticum by Leo Brouwer. This work, composed in 1968, is comprised in the so-called second phase of the composer and demonstrates his contact with the vanguard during his stay at the Juilliard School in New York. It is a work in which several post-tonal procedures are adopted, exploiting a rich set of textures and other techniques peculiar to the guitaristic language of twentieth century. Besides the discussion of such compositional aspects, we examine items related to time and its hues of determination throughout the work. In conceptual terms, the theoretical scope used here is founded on studies of language proposed by Saussure and Hjelmslev, fathers of modern Structural Linguistics which provides a basis for the Semiotics of French line. Regarding aspects of musical analysis, we take as main reference the works of Kostka and Straus. It is also possible to observe, yet as a partial result, the set of internal oppositions in musical discourse and inclusion of musical time as a significant element among the parameters that govern the construction of meaning in the work.