Performance dialogisms in two Brazilian art songs by Silvia Berg

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1 International Symposium on Performance Science ISBN The Author 2013, Published by the AEC All rights reserved Performance dialogisms in two Brazilian art songs by Silvia Berg Fátima M. Corvisier, Silvia Maria Pires Cabrera Berg, and Yuka A. Prado Department of Music, Ribeirão Preto School of Philosophy, Sciences, and Literature, University of São Paulo, Brazil Musicians typically perform with other musicians. Vocal solos tend to be with an ensemble, orchestra, quartet, choir, or other accompaniment; rarely are they a capella. The aim of this study was to analyze and understand the dialogism through the Bakhtinian philosophical perspective involving composer, pianist, and singer. While most studies concerning ensemble practices and performances focus on methods and strategies for rehearsing, we examined the entire performance taken together, so that each part is considered only in relation to the whole. We discuss the compositional and performing aspects of two songs: Oração para Aviadores (Prayer to Aviator) and O Amor (The Love), written for soprano and piano by Brazilian composer Silvia Berg. The process includes the dialogism of the compositional aspects of the two songs, the dialogic flow between the composer and performer, and the dialogic interchange between singer and pianist. As a result, we reveal the singularity of the fusion, immediacy, and impermanence of the songs, and also the grounding experience within musical performance. Moreover, we identify the unique aspects of the composer, performer, and listener within the process. Keywords: dialogism; Brazilian art song; performing together; Silvia Berg; voice and piano collaboration Vocal solos in an ensemble, orchestra, quartet, or choir are commonly observed. Unaccompanied vocal performances, however, are rarely seen. We, more often than not, watch musicians in collaborative performances. Studies on ensemble practice and performing, as done by Davidson and King (2008) and Goodman (2004), were concerned with methods and strategies for rehearsing. Some aspects have been considered to achieve the best results,

2 410 including coordination (keeping time), the role of the individual and social factors, the importance of a positive socio-emotional ambience, the interaction and cohesion that govern the group, and finally the method of communication (aural and visual signals). While most studies concerning ensemble practices and performances are focused on the methods and strategies for rehearsing, this paper examines and identifies the dialogisms of the composer, pianist, and singer as they interact with entire performance taken together, so that each part is considered only in relation to the whole. Moreover, we observe the assorted relations among individuals, and the appropriate exchanges in formal procedures and performances to facilitate the underlying principles of the act of performing music as a social interaction. The composer, pianist, and singer are also the participants and authors of this article. The two Brazilian art songs created by the composer to be performed by singer and pianist are the material of this investigation. We examined the set of information collected from the dialogisms of the composer in the process of creating these songs, and from the dialogism between the singer and pianist through a dialogical analysis. A dialogical interaction analysis refers to a way of exploring human communication which is based on the theory of dialogism. For Mikhail Bakhtin ( ), all language indeed, all thought appeared dialogic. Dialogism is given a literary conceptualization by Bakhtin, a Russian literary critic, social thinker, and philosopher of language. However, the term dialogic does not just apply to literature. His work may best be thought of as philosophy of another kind; philosophy across the board as in Emerson and Holquist (1986). Bakhtinian philosophical perspectives can also be applied in performance (Marshman 2012). Therefore, dialogism is more than the communication mentioned above. Holquist (1990), a Bakhtinian researcher, declares that dialogism is a form of architectonics, the general science of ordering parts into a whole. In other words, architectonics is the science of relations. In addition, Bakhtin emphasizes that a relation is never static, but always in the process of being made or unmade (pp. 29). There are transforming movements, as the dialog between the composer, pianist, and singer is being established unceasingly through analyses and investigations of the composer s life and pertaining historical background, on an appraisal of the compositional resources, and the studies of poetry or other sources of inspiration in the tradition of western music. However, the meaning of dialogism is more than dialogue, as Holquist continues: sharing existence as an event means among other things that we are we cannot choose not to be in dialogue, not only with other human beings, but also with the natural and cultural configurations we lump together as the world (pp. 29). That is the reason that dialogism could be useful in under-

3 INTERNATIONAL SYMPOSIUM ON PERFORMANCE SCIENCE 411 standing the relations of composer, performer and listener in music performance. The main goal of this approach was to use the Bakhtinian philosophical perspective to clarify the process of dialogism among composer, performer, and listener through two Brazilian art songs. MAIN CONTRIBUTION Compositional dialogisms in two Brazilian art songs: The composer s voice The work of the Brazilian poet Manuel Bandeira ( ) is one of the most inspiring sources for modern and contemporary Brazilian art song composers. This is mainly due to the rich imagery contained in his verses, the nostalgia imbued in his poetry, and the irregularity of the meter that, at the same time, offers great rhythmic variation. All in all, each of these elements is easily adaptable to various compositional processes. The poem Oração para Aviadores (Prayer to Aviators) was chosen because it depicts the immediate relationship between the musical structure and landscape of the region: large plantations, slightly hilly areas, and views of large tracts of earth. This was the first composition the composer wrote upon returning to Brazil and establishing residence in Ribeirão Preto, a city northeast of state of São Paulo, after more than twenty-four years living in Denmark. The day the song was written the composer had the sight of a major storm approaching on the horizon. The vocal identification (soprano) was extremely important in designing the structure of the song. The prior knowledge of the specific technique both vocal and instrumental of each performer was also essential (the composer knew the musicians that would perform the song), as the compositions are conceived organically from these assumptions. The melody is exposed syllabically by the voice and melismatic flights are exposed by the piano. Moreover, it contrasts between its dilated (not simultaneous) and contracted (simultaneous) forms, sometimes in octaves and, at times, meddling with the increase of octaves and harmonics. Both songs were created as a dialogue based upon the compositional processes of Robert Schumann, found in his Opus 48 song-cycle Dichterliebe (Poet s Love). More precisely, in the works Und die Blumen's wüssten (And the Flowers Knew) and Das ist ein Flöten und Geigen (There is a Fluting and Fiddling). The vivid function of the piano, as in Dichterliebe, assumes a complementary function to the poem, as in Cook (1998), therefore providing sub-

4 412 liminal layers of meaning, yet sensed, but not directly described in the writings. The song O Amor (The Love) was composed months later, inspired by the compositional processes of the song Im Rhein, im heiligen Strome (In the Rhine, the Holy River) by Schumann from the same collection Dichterliebe. In addition, the composer used a quote from the Brazilian folk song Atirei uma Pedra n Agua (I threw a Stone into the Water), drawing from Hoquetus technique, which combines fragments superimposed and juxtaposed with silences, forming a surface exposed to the elements that will trigger processes of propagation. While the song Oração para Aviadores (Prayer to Aviators) builds itself with a set of images structurally in the "air," in O Amor these processes occur by propagation. The allusion to "throw a stone into the water" is described by a circle of resonances on the piano. Ostinati are methodically used in this song, complementary to the text, but in disagreement with their original structural function of repetition. They are instead systematically employed with variation and as surprise elements, and often including structural silences. From this texture emerges a quotation of instrumental accompaniment forms as a dialog with compositions of different periods and styles. Dialogism between the singer and piano collaborator The dialogical partnership between a singer and a pianist starts with an overview of the piece they will perform. An important distinction in this study was that, once a collaborator, the pianist s role goes beyond the simple task of accompanying. The pianist is also a singer, and when the composer is aware of this and treats the instrument this way, the musical result is much more persuasive. In the two works of Silvia Berg, the piano is responsible for setting the mood of the songs. In Oração para Aviadores the constant rhythmic figuration in groups of thirty-second notes in the piano s introduction (agitato, legatissimo) could be translated as the scenery that depicts the wind and the movement of the airplanes in the air. It makes a sharp contrast with the prayer that follows (Calmo e fluente [calm and fluent]). The dynamic arch of this introduction, going from piano to forte, mezzo-piano, pianissimo, and piano-pianissimo al niente, prepares the entrance of the voice. However, one must observe here that the mood, the tempo, and the whole atmosphere of the voice part that follows are different from that of the introduction. When practicing, singer and pianist must work on this sudden change or the entrance of the voice part could be jeopardized. The pianist synthetizes this change in one chord whose

5 INTERNATIONAL SYMPOSIUM ON PERFORMANCE SCIENCE 413 resonance will blend with the singer s first note. Although the piano score indicates piano at the beginning of the prayer section, the inflection of the words in the musical phrase is to be observed and carefully followed with the help of dynamic shadings and the use of legato touch in the piano part. Piano and voice are very much dependent on one another. As the piece progresses, the thirty-second note figurations in the piano part appear as an interlude. The return of these figurations gives another perspective to the prayers meaning. From this section on, the dynamic forte and the movement of the piano part that now permeates the musical discourse intensifies the invocation. In the introduction of O Amor the sonority of the piano anticipates the sound of the voice in such a manner that, once the singer starts, it is a natural continuation of the piano s resonance. The piano and voice parts are interwoven with each other, and the projection of the voice is amplified with the aid of the overtones provided by the piano sound and texture. The shape of the phrases gives the opportunity to breathe naturally and the flow of the song is conducted by the piano. When the accompaniment and the voice part have the same rhythm, the inflection of the words has to be carefully followed, and, as stated by Katz (2009), pianists have to replicate that shape exactly or imperfect ensemble will result. [The collaborator] must know the inherent shape of a group of words to be able to predict and synchronize what happens at the piano with our inflecting partner (pp. 23). Another interpretive aspect in the piece is that the manipulation of the tempo and dynamics is directly related to the words diction and meaning. These aspects of interpretation have to be carefully practiced in order to keep the balance between parts, and to bring the real dimension of the piece alive. All of this air scenery and the huge landscapes suggest a soprano voice with controlled vibrato. Pianist and singer must work dialogically on the sound and touch on each phrase together, keeping in mind the meaning of the text, in order to decide on the correct dynamic nuances and tempo and preserve the flow of the piece. IMPLICATIONS Further research will seek to deepen understanding of the dialogical process of musical performance between the composition, performer, and audience. Brazilian art song will also continue to be the focus. Bakhtinian values should be studied in order to better comprehend performance dialogism through inferences of utterance, polyphony, heteroglossia, and grotesque body. We continue to question whether one could measure all of the dialogisms linking the composer s process of creation: between the composer and per-

6 414 former, composer and listener, among performers, and between performers and listeners. Performers and listeners are not static entities, but individuals in continuous transformation through time and space. Therefore, the entire process of dialogism as a measurable aspect collaborative performance is yet to be fully understood and utilized. As in Berenson (2001), all art, including music, has been created in order to be experienced. The creator of art experiences its creation at every point and so does the spectator or the audience (pp.67). Berenson continues, referencing Sartre: there is no art except for and by others. Address for correspondence Yuka de Almeida Prado, Department of Music, School of Philosophy, Sciences, and Literature of Ribeirão Preto, University of São Paulo, Av. Bandeirantes, CEP , Bairro Monte Alegre, Ribeirão Preto, SP, Brazil; yuka@usp.br References Berenson F. M. (2001). Interpreting the emotional content of music. In M. Krauz (ed.), The Interpretation of Music: Philosophical Essays (pp ). Oxford: Oxford University Press. Cook N. (1998). Analyzing Musical Multimedia. Oxford: Oxford University Press. Davidson J. W. and King E. C. (2008). Strategies for ensemble practice. In A. Williamon (ed.), Musical Excellence (pp ). Oxford: Oxford University Press. Emerson C. and Holquist M. (1986). Speech Genres & Other Late Essays. Austin, Texas, USA: University of Texas Press. Goodman E. (2004). Ensemble performance. In J. Rink (ed.), Musical Performance: A Guide to Understanding (pp ). Cambridge: Cambridge University Press. Holquist M. (1990). Dialogism: Bakhtin and His World. London: Routledge. Katz M. (2009). The Complete Collaborator: the pianist as partner. Oxford: Oxford University Press. Marshman A. (2012). A philosophy of the performer s voice and its performance in works by Mozart and Stravisnky. In A. Marshman (ed.), Performers Voices Across Centuries and Cultures (pp ). London: Imperial College Press.

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