Akademik Veri Yönetim Sistemi
XI. International Hisarli Ahmet Symposium, Kütahya, Türkiye, 03 Haziran 2021, cilt.1, ss.423-429
The content of a work of art exposes aesthetic concerns, experiences and states of mind of its creator. The lonely impulse of the incarnation of the artist’s emotions is often connected to the multifaceted context of his time. This is the case, for example, of the mysterious and terrifying Black Paintings by Francisco Goya, made between 1820 and 1823, in a series of fourteen oil on canvas that served as decoration on the walls of his house in Spain, the Quinta del Sordo. Inspired by this work, in the middle of the pandemic of 2020, the Brazilian composer Willy Corrêa de Oliveira finished a group of ten pieces for solo piano entitled homonymous to Goya’s painting. The aim of this study is to investigate the emotions, or states of spirit, of the Black Paintings by the Brazilian composer in the light of the Doctrine of the Affects defended by the Baroque theorist Johann Mattheson. For this purpose, the textual information of the scores associated with the emotions were observed in order to carry out a descriptive analysis of the subject. The description was proposed from the performance perspective for better comprehension of the individual compositional approach. The study concludes that in the compositional process, subtle distinctions between the configurations of various affections are determined, however, only a carefully educated interpreter on a musical symbolism reaches the differences among them in an intellectual and not merely emotional process.