Haikais para voz e piano de Willy Corrêa de Oliveira: aproximações entre o discurso musical e princípios fundamentais do haikai
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Data
2023-03-17
Autores
De Bonis, Caroline De Comi Ribeiro da Silva [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
O intento da pesquisa é apontar a atuação de princípios fundamentais do haikai no discurso musical de algumas peças do conjunto 3+8 Haikais para voz e piano do compositor Willy Corrêa de Oliveira. Para isso, levantamos dados artísticos, históricos, aspectos grafemáticos e poéticos do haikai. O método principal foi realizar uma síntese do conteúdo bibliográfico específico (primeiro capitulo) criando uma noção de haikai que permita realizar as análises musicais também em sua função. Estas análises são aproximações na acepção científica do termo e o seu fundamento é evidenciar a intersecção entre as duas linguagens a partir das resultantes sonoras que a manipulação dos materiais musicais geram. Sem abandonar a observação dos fenômenos musicais das peças enquanto fruto de um músico ocidental, as aproximações mantiveram-se atadas ao seu significado enquanto expressão de uma forma poética inserida no contexto das artes japonesas. Mesmo a escolha do material musical mostrou-se afeita a estabelecer um tipo de comunicação do nível que o haikai estabelece com o leitor.
The aim of the research is to point out the operation of fundamental principles of haikai in the musical discourse of some pieces of the cycle 3+8 Haikais for voice and piano composed by Willy Corrêa de Oliveira. Therefore, we collected artistic, historical data, graphemic and poetic aspects of haikai. The main method was to carry out a synthesis of the specific bibliographic sources (first chapter) creating a notion of haikai that allows performing musical analyzes also in its light. These analyzes are approximations in the scientific sense of the term and their foundation is to highlight the intersection between the two languages from the sounds resulting from the manipulation of musical materials. Without abandoning the observation of the musical phenomena of the pieces as the result of the work of a Western musician, this approach remained tied to their meaning as an expression of a poetic form inserted in the context of Japanese arts. Even the choice of musical material proved to be apt to establish a type of communication on the level that haikai establishes with the reader.
The aim of the research is to point out the operation of fundamental principles of haikai in the musical discourse of some pieces of the cycle 3+8 Haikais for voice and piano composed by Willy Corrêa de Oliveira. Therefore, we collected artistic, historical data, graphemic and poetic aspects of haikai. The main method was to carry out a synthesis of the specific bibliographic sources (first chapter) creating a notion of haikai that allows performing musical analyzes also in its light. These analyzes are approximations in the scientific sense of the term and their foundation is to highlight the intersection between the two languages from the sounds resulting from the manipulation of musical materials. Without abandoning the observation of the musical phenomena of the pieces as the result of the work of a Western musician, this approach remained tied to their meaning as an expression of a poetic form inserted in the context of Japanese arts. Even the choice of musical material proved to be apt to establish a type of communication on the level that haikai establishes with the reader.
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Musical composition, Composição (Música), Música - Análise, apreciação, Haikai, Música e linguagem