%0 Journal Article
%T Simbologia e hereditariedade na forma  o de uma Grundgestalt: a primeira das Quatro Can  es Op.2 de Berg Symbology and heredity on the formation of a Grundgestalt: the first of Berg's Four Songs Op.2
%A Carlos de Lemos Almada
%J Per Musi
%D 2013
%I Escola de M¨²sica da UFMG
%X Integrando um amplo projeto de pesquisa que visa elaborar uma metodologia anal¨ªtica espec¨ªfica para os procedimentos de varia  o progressiva, o presente estudo examina a possibilidade de exist¨ºncia de, por assim dizer, transmiss o heredit¨¢ria (extraopus) na constru  o da ideia primordial (ou Grundgestalt) de uma pe a musical. Para isso, ¨¦ analisada a primeira das Quatro Can  es op.2, de Alban Berg, cuja Grundgestalt apresenta-se como um complexo formado por v¨¢rias transforma  es de elementos-chave extra¨ªdos de tr¨ºs obras: Trist o e Isolda de Richard Wagner, a Primeira Sinfonia de Camara op.9 de Arnold Schoenberg e a Sonata para Piano op.1, do pr¨®prio Berg. As a part of a broad research project that aims at elaborating a specific analytical methodology for the procedures of developing variation, the present study examines the possibility of, so to speak, hereditary (extraopus) transmission in the construction of the primordial idea (or Grundgestalt) of a musical piece. Thus, the analysis was focused on the first of the Four Songs op.2, by Alban Berg, of which the Grundgestalt is presented as a complex formed by several transformations of key-elements extracted from three pieces: Tristan and Isolde, by Richard Wagner, the First Chamber Symphony op.9, by Arnold Schoenberg, and the Piano Sonata op.1, by Berg.
%K Grundgestalt e varia  o progressiva
%K simbologia musical
%K transmiss o extraopus
%K Grundgestalt and developing variation
%K musical symbology
%K extraopus transmission
%U http://www.scielo.br/scielo.php?script=sci_arttext&pid=S1517-75992013000100008