A técnica pianística do professor Pietro Maranca: uma proposta de metodologia
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Data
2019-07-26
Autores
Minadeo, Liz Helena Marcondes de Oliveira Santos [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Este trabalho refere-se à técnica pianística desenvolvida pelo pianista Pietro Maranca (1944-1995) que foi professor na Fundação das Artes de São Caetano do Sul e no curso de Bacharelado em Piano do Instituto de Artes da UNESP, na década de 1980. A técnica tem fundamentos na anatomia que estuda grandes estruturas e sistemas do corpo humano, na fisiologia cujo estudo engloba as funções e o funcionamento normal dos seres vivos, na biomecânica que aplica as leis da mecânica ao sistema locomotor do corpo humano, e na cinesiologia que estuda o movimento das forças que atual no corpo humano. Essa técnica permite que o pianista use de modo consciente e eficaz seus recursos físicos, psicomotores e sensoriais ao tocar, com base no relaxamento e fortalecimento muscular, na funcionalidade e na ação consciente dos movimentos e dos gestos, como parte da expressão musical e da performance através da demonstração, do estudo e da prática de exercícios específicos. O professor Pietro Maranca desenvolveu e sistematizou essa técnica a partir de seus estudos com Arturo Benedetti Michelangeli (na Itália), com Peter Feuchtwanger e Maria Curcio (em Londres, entre 1960 e 1970). Trata-se de uma série de exercícios de modo teórico, prático e sensorial (auditivo, visual e tátil), sendo que parte desses exercícios encontra-se no livro Klavierübungen zur Heilung physiologischer Spielstörungen und zum Erlernen eines funktionell—natürlichen Klavierspiels (Exercícios para curar desordens relacionadas a tocar e para a assimilação de uma abordagem funcional e natural de tocar piano), cujo material integra a pesquisa. A metodologia de Peter Feuchtwanger é baseada no tocar piano com leveza e mínimo de esforço, na economia de movimentos, no modo natural de posicionar mãos, dedos e braços. Pietro Maranca ampliou esses conceitos, aplicando a teoria de Laban, que explora as relações interiores do movimento e funcionamento exterior do corpo, o processo de geração de força e o estudo sobre as especificidades da mão humana. A técnica possui um diferencial mencionado pelos pianistas que realizaram esse trabalho: uma vez que se aprende a tocar desse modo, não se vislumbra outra possibilidade, em função das soluções técnicas, da efetividade do resultado, da liberdade e segurança adquirida, da ação e do condicionamento consciente e sensorial e, sobretudo, da conexão do resultado sonoro e da interpretação musical com o uso dos movimentos naturais, biomecânicos e funcionais. Devido ao falecimento precoce do professor Pietro Maranca, essa técnica foi ensinada por comunicação oral. Pretende-se nesse trabalho verificar que o método de estudo é objetivo e coerente entre a teoria e a prática dos exercícios e os conceitos científicos. A metodologia de ensino proporciona resultados a quem efetivamente realiza o trabalho e traz respostas com soluções efetivas, técnicas e interpretativas, para todas as obras do repertório pianístico. Entrevistas e dados bibliográficos serviram de base para o presente trabalho. Todo o material destina-se a auxiliar o estudo e sua aplicação por docentes e discentes, e a consulta pela comunidade acadêmica e o público em geral, contribuindo com o acervo histórico e científico do Instituto de Artes da UNESP, uma vez que a técnica pianística objeto deste trabalho foi elaborada por professor e pianista de importante competência profissional e artística.
This work refers to the pianistic technique developed by pianist Pietro Maranca (1944-1995) who was a teacher at the São Caetano do Sul Arts Foundation and the Piano Bachelor of Arts Institute at UNESP in the 1980s. This technique has foundations in anatomy that studies large structures and systems of the human body, in physiology whose study encompasses the functions and normal functioning of living beings, in biomechanics that applies the laws of mechanics to the locomotor system of the human body, and in kinesiology that studies the movement of forces that current in the human body. This technique allows the pianist to consciously and effectively use his physical, psychomotor and sensory resources when playing, based on relaxation and muscle strengthening, functionality and conscious action of movements and gestures as part of musical expression and performance through demonstration, study and practice of specific exercises. Professor Pietro Maranca developed and systematized this technique from his studies with Arturo Benedetti Michelangeli (in Italy), Peter Feuchtwanger and Maria Curcio (in London, between 1960 and 1970). These are a series of exercises that are theoretical, practical and sensory (auditory, visual and tactile), and part of these exercises can be found in the book Klavierübungen zur Heilung physiologischer Spielstörungen und zum Erlernen eines funktionell — natürlichen Klavierspiels (Exercises to cure disorders related to playing and for assimilating of a functional and natural approach to playing the piano), whose material integrates the research. Peter Feuchtwanger's methodology is based on playing the piano lightly and with minimal effort, on economy of movement, on the natural way of placing hands, fingers and arms. Pietro Maranca has broadened these concepts by applying Laban's theory, which explores the inner relationships of movement and outer functioning of the body, the process of force generation, and the study of the specificities of the human hand. The technique has a differential mentioned by the pianists who have done this work: once you learn to play in this way, you can see no other possibility, due to the technical solutions, the effectiveness of the result, the freedom and security acquired, the action and the conscious and sensory conditioning and, above all, the connection of the sound result and musical interpretation with the use of natural, biomechanical and functional movements. Due to the early death of Professor Pietro Maranca, this technique was taught by oral communication. It is intended in this work to verify that the method of study is objective and coherent between the theory and the practice of the exercises and the scientific concepts. The teaching methodology provides results to those who actually do the work and brings answers with effective, technical and interpretative solutions, for all works of the piano repertoire. Interviews and bibliographic data were the basis for the present work. All material is intended to assist the study and its application by teachers and students, and consultation by the academic community and the general public, contributing to the historical and scientific collection of the UNESP Arts Institute, since the piano technique object of this work was elaborated by teacher and pianist of important professional and artistic competence.
This work refers to the pianistic technique developed by pianist Pietro Maranca (1944-1995) who was a teacher at the São Caetano do Sul Arts Foundation and the Piano Bachelor of Arts Institute at UNESP in the 1980s. This technique has foundations in anatomy that studies large structures and systems of the human body, in physiology whose study encompasses the functions and normal functioning of living beings, in biomechanics that applies the laws of mechanics to the locomotor system of the human body, and in kinesiology that studies the movement of forces that current in the human body. This technique allows the pianist to consciously and effectively use his physical, psychomotor and sensory resources when playing, based on relaxation and muscle strengthening, functionality and conscious action of movements and gestures as part of musical expression and performance through demonstration, study and practice of specific exercises. Professor Pietro Maranca developed and systematized this technique from his studies with Arturo Benedetti Michelangeli (in Italy), Peter Feuchtwanger and Maria Curcio (in London, between 1960 and 1970). These are a series of exercises that are theoretical, practical and sensory (auditory, visual and tactile), and part of these exercises can be found in the book Klavierübungen zur Heilung physiologischer Spielstörungen und zum Erlernen eines funktionell — natürlichen Klavierspiels (Exercises to cure disorders related to playing and for assimilating of a functional and natural approach to playing the piano), whose material integrates the research. Peter Feuchtwanger's methodology is based on playing the piano lightly and with minimal effort, on economy of movement, on the natural way of placing hands, fingers and arms. Pietro Maranca has broadened these concepts by applying Laban's theory, which explores the inner relationships of movement and outer functioning of the body, the process of force generation, and the study of the specificities of the human hand. The technique has a differential mentioned by the pianists who have done this work: once you learn to play in this way, you can see no other possibility, due to the technical solutions, the effectiveness of the result, the freedom and security acquired, the action and the conscious and sensory conditioning and, above all, the connection of the sound result and musical interpretation with the use of natural, biomechanical and functional movements. Due to the early death of Professor Pietro Maranca, this technique was taught by oral communication. It is intended in this work to verify that the method of study is objective and coherent between the theory and the practice of the exercises and the scientific concepts. The teaching methodology provides results to those who actually do the work and brings answers with effective, technical and interpretative solutions, for all works of the piano repertoire. Interviews and bibliographic data were the basis for the present work. All material is intended to assist the study and its application by teachers and students, and consultation by the academic community and the general public, contributing to the historical and scientific collection of the UNESP Arts Institute, since the piano technique object of this work was elaborated by teacher and pianist of important professional and artistic competence.
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Palavras-chave
Técnica pianística, Pietro Maranca, Relaxamento, Funcionalidade, Pianistic technique, Pietro Maranca, Relaxation, Functionality