Fernando Magre
Fernando Magre is currently developing PhD research in Music at the University of Campinas (Unicamp) under the guidance of Prof. Dr. Denise Garcia. He holds a master’s degree in Musicology from the University of São Paulo (2017), where he researched the music theater work of the Brazilian composer Gilberto Mendes, supervised by Prof. Dr. Silvia Berg. He is a specialist in Choral Conducting (2015) and has a teaching degree in Music (2013), both by the Londrina State University. He did a research internship at CESEM-FCSH-UNL between 2016 and 2017 under the supervision of Prof. Dr. Maria João Serrão, with the assistance of the São Paulo Research Foundation (FAPESP). Currently, he is collaborating with this institution. He began his musical training in the choirs of the Londrina State University, conducted by Lucy Schimiti, having also studied guitar, flute and bassoon. He studied choral conducting with Lucy Schimiti, Heloiza de Castello Branco and Andreia Anhezini. At the same time, he participated in masterclasses with Mariana Farah (USA), Nestor Zadoff (ARG), Tim Brimmer (USA), Henry Leck (USA), Maria Guinand (VEN) and others. He is co-founder of the vocal group Entre Nós, in which he contributes as arranger. Currently, he is part of the Campinas Contemporary Choir, conducted by Angelo Fernandes. Among the concerts, highlights for Mozart operas “Don Giovanni” and “Die Zauberflöte”, as well as the complete production of Bach’s “Johannes-Passion” with Coral Paulistano Mário de Andrade and Orquestra Sinfônica Municipal de São Paulo. As a musicologist, he participated of several conferences in Brazil and abroad, with special mention to the RIdIM conferences of 2015 (Columbus-USA) and 2016 (Saint Petersburg-Russia), Essence and Context Conference (Vilnius-Lithuania) in 2016 and EIMAD – Meeting of Research in Music, Arts and Design (Castelo Branco), in 2017.
Magre, F.; Berg, S. (2017). “O Pensamento Complexo de Edgar Morin Aplicado à Musicologia – Reflexões sobre a Música Teatro de Gilberto Mendes”. In: D. Raposo, J.Neves, J.Pinho e J.Silva (Editores) Investigação e Ensino em Design e Música. Castelo Branco: Edições IPCB, pp 323-329.
MAGRE, Fernando, BERG, Silvia. The Essence and the Context in Blirium-C9 by Gilberto Mendes. In: Essence and Context: a conference between music and philosophy, Abstracts’ Book. Vilnius: Lithuanian Academy of Music and Theatre, 2016. pp. 65-66.
MAGRE, Fernando, BERG, Silvia. Aproximações entre A Obra de Arte Viva de Adolphe Appia e a música teatro: um estudo sobre O Último Tango em Vila Parisi de Gilberto Mendes. In: XXVI Congresso da ANPPOM Anais 2016. Belo Horizonte: Editora UEMG, 2016.
MAGRE, Fernando. Entre a vanguarda e o experimentalismo: o surgimento da Música Teatro. In: IV Simpósio Brasileiro de Pós-graduandos em Música Anais 2016. Rio de Janeiro: UNIRIO, 2016. pp. 906-915.
This current research aims at investigating the fundamental characteristics of Gilberto Mendes’s music theater. This work is divided into three parts. In the first chapter, we present a broad bibliographical review about the development of music theater genre, seeking its root from Wagner’s idea of Gesamtkunstwerk, going from the experiences of the first decades of the twentieth century to its actual establishment as a practice, in the 60s. We also seek to promote a dialogue between Gilberto Mendes’s works and contemporary researches on music theater, especially Salzman & Dési (2008) and Roesner & Rebstock (2012), in order to insert the composer into the international discussion about the genre. In the second chapter, we scrutinize the main constituent features of the composer’s compositional language of music theater, in order to identify its most recurrent and idiomatic processes. Finally, in the third chapter we analyze four Gilberto Mendes’s works: Cidade (1964), Son et Lumière (1968), O Último Tango em Vila Parisi (1987) and Escorbuto – Cantos da Costa (2006). In order to develop the analyses, we adapted Nicholas Cook’s musical multimedia theory (1998), so that we could identify types of relations and solutions operated by Gilberto Mendes in the composition with artistic elements from diverse origins. We consider that this research will contribute with music theater researches done outside major European centers, in addition to increasing the scope of studies about this genre in Brazil and, especially, about Gilberto Mendes’s production.