Por uma análise pela composição: A concepção intervalar de Almeida Prado nas Cartas Celestes I

This paper seeks to conduct a theoretical-critical study by revising the purpose of a musical analysis and considering the concepts discussed by Cook, Kramer, Laborde and a series of significant authors that corroborate the ideas developed here. In light of detailed observations that confirmed an interval process that Almeida Prado called expressividade intervalar (intervalar expressivity [or 'intervallic']), using the same terms of the phenomenon and from recent research, we propose a terminology enhancement towards what we call characteristic interval the translation of this structural recurrence of intervals of higher potential dissonance that are in contrast with the seven initial intervals and consonants of the harmonic series. Descending from the observation of the post-rupture production of Almeida Prado to the theorization presented here, we aimed to deepen aspects of the conceptual tangencies between seemingly disparate theories (e.g., Costère polarity and Forte's interval class). As proof of an analysis based on intervals, some of the many recurring cases were presented in Cartas Celestes I.