A colaboração intérprete-compositor na composição de três estudos para oboé solo

Abstract

Since the beginning of the systematization of oboe learning/teaching in the 19th century, several composers have created works whose objective is to collaborate with the technical and interpretative development of oboists through the practice of a certain aspect of instrumental technique. Despite containing a significant number of works, the repertoire for oboe by brazilian composers, for this purpose, is relatively limited. Seeking to mitigate this gap, this autoethnographic research was carried out, mediated by the collaborative process with three brazilian composers. The main objective was the creation of three Studies for solo oboe conceived from the suggestion of interpretive and intertextual elements, proposed by the interpreter. These elements were used both as compositional tools and as subsidies for the development and improvement of aspects related to the interpretation of these Studies. Analytical autoethnography led to the description and analysis of collaborative processes, seeking to increase our understanding through active observation of the creative processes and artistic objects of this investigation. The adopted methodological procedures were developed through performances of works for oboe by the collaborating composers, for a greater approximation with their compositional languages and a consistent interaction with the composers during the process of creation and preparation of an interpretation of the Studies, continuously seeking a compromise between the aesthetic conceptions of the composers and the idiomatic, pedagogical and interpretative aspects proposed by the oboist. The collaborative process was substantially satisfactory, as it contributed to the expansion of the oboe repertoire, with three new works by brazilian composers: Estudo Brasileiro para Oboé Solo, by Uaná Barreto; PARÁBOLA: Study for solo oboe, by Rodrigo Lima; Waldeinsamkeit for solo oboe, by Helder Oliveira. These Studies can be used both as teaching tools and as works for musical performances, thanks to the effective communication between the performer and the composers throughout the research, significantly impacting the composition of the Studies, as well as the construction of the interpretation of these new works.