Cibele Palopoli
Faculty member at Universidade Católica de Santos (Unisantos, Brazil), Cibele Palopoli (b. 1989) received her Ph.D. in Musicology in 2018 from the University of São Paulo [Universidade de São Paulo, USP], Brazil.
Her Master s Degree (2013), and her Bachelor of Music (Flute, 2010) are from the same University, and were supported by São Paulo Research Foundation (FAPESP). During her Masters, Mrs. Palopoli conducted part of her studies at King's College London (2012), with an International Mobility Scholarship funded by Santander Group. She places a high level of importance on academia, having presented articles in Brazil, Scotland, Ireland, Lithuania, Portugal, and Spain. Mrs. Palopoli is affiliated with the National Association of Research and Graduate Studies in Music (ANPPOM) and the Brazilian Flutists Association (ABRAF). As a flutist, she often plays in Brazilian music concerts, forming part of the Regional 234 Choro group that toured Mozambique (2010), and Ôctôctô that toured Portugal and Germany (2014), U.S. (2015), UK (2015), and Uruguay (2019).
Flautista, professora e pesquisadora. Autora da tese de doutorado “Violão velho, Choro novo: processos composicionais de Zé Barbeiro”, defendida na Universidade de São Paulo em 2018. Leciona na Universidade Católica de Santos desde 2016. É Doutora em Música (2014-2018), Mestre em Artes (2011-2013) e Bacharel em Música (flauta transversal, 2007-2010), todos pela USP. Foi bolsista FAPESP e do Grupo Santander. Realizou parte do mestrado no King's College London. Já apresentou comunicações em diversos congressos no Brasil e no exterior (Escócia, Irlanda, Lituânia, Portugal e Espanha). Enquanto flautista atua regularmente no repertório erudito e popular, tendo realizado apresentações no Brasil e em diversos países, tais como Argentina, Moçambique, Inglaterra, Alemanha, Portugal, Estados Unidos e Uruguai.
http://lattes.cnpq.br/7951120044534973
Her Master s Degree (2013), and her Bachelor of Music (Flute, 2010) are from the same University, and were supported by São Paulo Research Foundation (FAPESP). During her Masters, Mrs. Palopoli conducted part of her studies at King's College London (2012), with an International Mobility Scholarship funded by Santander Group. She places a high level of importance on academia, having presented articles in Brazil, Scotland, Ireland, Lithuania, Portugal, and Spain. Mrs. Palopoli is affiliated with the National Association of Research and Graduate Studies in Music (ANPPOM) and the Brazilian Flutists Association (ABRAF). As a flutist, she often plays in Brazilian music concerts, forming part of the Regional 234 Choro group that toured Mozambique (2010), and Ôctôctô that toured Portugal and Germany (2014), U.S. (2015), UK (2015), and Uruguay (2019).
Flautista, professora e pesquisadora. Autora da tese de doutorado “Violão velho, Choro novo: processos composicionais de Zé Barbeiro”, defendida na Universidade de São Paulo em 2018. Leciona na Universidade Católica de Santos desde 2016. É Doutora em Música (2014-2018), Mestre em Artes (2011-2013) e Bacharel em Música (flauta transversal, 2007-2010), todos pela USP. Foi bolsista FAPESP e do Grupo Santander. Realizou parte do mestrado no King's College London. Já apresentou comunicações em diversos congressos no Brasil e no exterior (Escócia, Irlanda, Lituânia, Portugal e Espanha). Enquanto flautista atua regularmente no repertório erudito e popular, tendo realizado apresentações no Brasil e em diversos países, tais como Argentina, Moçambique, Inglaterra, Alemanha, Portugal, Estados Unidos e Uruguai.
http://lattes.cnpq.br/7951120044534973
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Papers by Cibele Palopoli
Sequenza I was dedicated to the Italian flautist Severino Gazzelloni and is the first work of a series of fourteen pieces for solo instruments entitled Sequenze. Composed over forty-four years, Sequenze are pieces of great prominence in the solo repertoire of the XX and XXI centuries and became famous for using a detailed technical sophistication musical language and for exploring a high level of virtuosity. In this sense, the first and most evident challenge that Sequenza I presents to the performer is within the rhythmic scope – deciphering the notation, whether it being proportional (Suvini Zerboni edition, 1958), due to the lack of familiarity with this type of writing, or being traditional (Universal Editions edition, 1992), due to the large presence of complex rhythms.
The use of proportional notation in Sequenza I was not the first choice in the work’s conception by Berio. The composer originally wrote it with traditional rhythmic notation. However, the complex rhythmical patterns, along with the utilisation of extended techniques, recurrent presence of large melodic intervals, diversity of articulation and extremely wide range of dynamics, made the piece so difficult that Berio resorted to proportional notation in order to facilitate the work’s performance. Thus, the rhythmic durations in Sequenza I (1958 ed.) are associated to the distances between each note on the stave.
Some years later, Berio proved to be discontented with the recordings and performances based on the first edition. According to him, the absolute time in the proportional notation was not as important as the maintenance and consistency of rhythmic proportions. The excessive liberty adopted by the performers, who considered spatial notation almost as a pretext for improvisation, led the composer to rewrite his own work thirty-four years later, replacing the proportional notation with traditional rhythmic notation. Nevertheless, much of the music community, with a focus on flautists, seems unaware of this or at least does not use the aforementioned later edition.
From this perspective, I argue with ideas presented by Folio and Brinkman in the article Rhythm and Timing in the Two Versions of Berio’s Sequenza I for Flute Solo: Psychological and Musical Differences in Performance (2007) and I consider some questions concerning structural and technical aspects present in the work. Do the performers feel greater facility or insecurity in dealing with proportional notation since it is an unusual language? To what extent does the rhythmic notation with traditional complex writing inhibit performer?
In conclusion, I place myself both in the role of performer and analyst, mapping points of convergence and divergence in both rhythmic, tempo and proportionality aspects between each edition, and how the interpretative issues influence the performer.
This thesis presents an analytical study of Sequenza I for solo flute, by the Italian composer Luciano Berio (1925-2003), focusing on two editions of the work. The first one, from 1958, uses proportional notation and was published by Suvini Zerboni Editions. The second one, published by Universal Edition in 1992, was reviewed by the composer and uses traditional rhythmic notation. Among various motivations for carrying out this work, I mention the peculiarity of a composer rewriting his own work 34 years later, centering his changes mainly in the rhythmic notation; a survey of issues regarding interpretative practices and focusing on works for flute; and the representativity of Sequenza I as a canon of the flute repertoire, whose study is indispensable to the Twentieth Century flautist. Placing myself both in the role of performer and analyst, I look for reflections concerning performance practices, as I seek to develop myself in both fields. In conclusion, I found a relationship of mutual collaboration between musical analysis and performance, which really clarifies structural aspects; and an influence of Berio’s experience within electroacoustic composition in writing this piece for an acoustic instrument.
Thesis Chapters by Cibele Palopoli
This thesis investigates the compositional processes in the work of Zé Barbeiro (José Augusto Roberto da Silva, b. 1952). The author has developed an intuitive writing style, essentially oriented by his practice as a Brazilian Choro guitarist. Nevertheless, it's well-known that his works differs auditorily from those of the Choro composers of the late nineteenth and the twentieth centuries. This is caused by the modification of harmonic, melodic, rhythmic, timbristic, metric, and formal aspects, and culminates in what has been called contemporary Choro, among other denominations. Initially I discuss these terminologies and I analyse the multiple meanings that the word "Choro" has received over the years. For this purpose, I examined primary sources and also the verbal and textual discourse of the chorões. In the second stage of this research, I investigated the compositional resources responsible for the innovations on the formal model considered as a pattern. For this, I worked from the hypothesis that formal organisation is the main element responsible for chraracterising Zé Barbeiro's work as Choro. As a first conclusion, I verified that Choro has exercised multiple functionalities, which legitimise its framing as a cultural manifestation. I also identified that the professionalisation of the musicians and the untying of Choro to dance functions (which erstwhile demanded a musical construction based on predictability) are the main factors responsible for providing the changes that Choro has undergone. Finally, I concluded that the musical expansion evidenced in the work of Zé Barbeiro has its germ in the compositional and interpretative performance of his predecessors.
Sequenza I was dedicated to the Italian flautist Severino Gazzelloni and is the first work of a series of fourteen pieces for solo instruments entitled Sequenze. Composed over forty-four years, Sequenze are pieces of great prominence in the solo repertoire of the XX and XXI centuries and became famous for using a detailed technical sophistication musical language and for exploring a high level of virtuosity. In this sense, the first and most evident challenge that Sequenza I presents to the performer is within the rhythmic scope – deciphering the notation, whether it being proportional (Suvini Zerboni edition, 1958), due to the lack of familiarity with this type of writing, or being traditional (Universal Editions edition, 1992), due to the large presence of complex rhythms.
The use of proportional notation in Sequenza I was not the first choice in the work’s conception by Berio. The composer originally wrote it with traditional rhythmic notation. However, the complex rhythmical patterns, along with the utilisation of extended techniques, recurrent presence of large melodic intervals, diversity of articulation and extremely wide range of dynamics, made the piece so difficult that Berio resorted to proportional notation in order to facilitate the work’s performance. Thus, the rhythmic durations in Sequenza I (1958 ed.) are associated to the distances between each note on the stave.
Some years later, Berio proved to be discontented with the recordings and performances based on the first edition. According to him, the absolute time in the proportional notation was not as important as the maintenance and consistency of rhythmic proportions. The excessive liberty adopted by the performers, who considered spatial notation almost as a pretext for improvisation, led the composer to rewrite his own work thirty-four years later, replacing the proportional notation with traditional rhythmic notation. Nevertheless, much of the music community, with a focus on flautists, seems unaware of this or at least does not use the aforementioned later edition.
From this perspective, I argue with ideas presented by Folio and Brinkman in the article Rhythm and Timing in the Two Versions of Berio’s Sequenza I for Flute Solo: Psychological and Musical Differences in Performance (2007) and I consider some questions concerning structural and technical aspects present in the work. Do the performers feel greater facility or insecurity in dealing with proportional notation since it is an unusual language? To what extent does the rhythmic notation with traditional complex writing inhibit performer?
In conclusion, I place myself both in the role of performer and analyst, mapping points of convergence and divergence in both rhythmic, tempo and proportionality aspects between each edition, and how the interpretative issues influence the performer.
This thesis presents an analytical study of Sequenza I for solo flute, by the Italian composer Luciano Berio (1925-2003), focusing on two editions of the work. The first one, from 1958, uses proportional notation and was published by Suvini Zerboni Editions. The second one, published by Universal Edition in 1992, was reviewed by the composer and uses traditional rhythmic notation. Among various motivations for carrying out this work, I mention the peculiarity of a composer rewriting his own work 34 years later, centering his changes mainly in the rhythmic notation; a survey of issues regarding interpretative practices and focusing on works for flute; and the representativity of Sequenza I as a canon of the flute repertoire, whose study is indispensable to the Twentieth Century flautist. Placing myself both in the role of performer and analyst, I look for reflections concerning performance practices, as I seek to develop myself in both fields. In conclusion, I found a relationship of mutual collaboration between musical analysis and performance, which really clarifies structural aspects; and an influence of Berio’s experience within electroacoustic composition in writing this piece for an acoustic instrument.
This thesis investigates the compositional processes in the work of Zé Barbeiro (José Augusto Roberto da Silva, b. 1952). The author has developed an intuitive writing style, essentially oriented by his practice as a Brazilian Choro guitarist. Nevertheless, it's well-known that his works differs auditorily from those of the Choro composers of the late nineteenth and the twentieth centuries. This is caused by the modification of harmonic, melodic, rhythmic, timbristic, metric, and formal aspects, and culminates in what has been called contemporary Choro, among other denominations. Initially I discuss these terminologies and I analyse the multiple meanings that the word "Choro" has received over the years. For this purpose, I examined primary sources and also the verbal and textual discourse of the chorões. In the second stage of this research, I investigated the compositional resources responsible for the innovations on the formal model considered as a pattern. For this, I worked from the hypothesis that formal organisation is the main element responsible for chraracterising Zé Barbeiro's work as Choro. As a first conclusion, I verified that Choro has exercised multiple functionalities, which legitimise its framing as a cultural manifestation. I also identified that the professionalisation of the musicians and the untying of Choro to dance functions (which erstwhile demanded a musical construction based on predictability) are the main factors responsible for providing the changes that Choro has undergone. Finally, I concluded that the musical expansion evidenced in the work of Zé Barbeiro has its germ in the compositional and interpretative performance of his predecessors.