A história da atividade musical na Igreja Presbiteriana Unida de São Paulo: uma fisionomia possível
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Data
2000
Autores
Kerr, Samuel Moraes [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Meu objetivo básico foi escrever uma história possível da atividade musical de uma comunidade: a Igreja Presbiteriana Unida de São Paulo. Sob o ponto de vista dos estudos com as linguagens, a História tem seus procedimentos equivalentes ao de uma Narrativa. Em um primeiro momento fui buscar os autores que estudaram as estruturas narrativas, entre eles Svetan Todorov e Roland Barthes. Minha busca não era a de estudar o pensamento estruturalista propriamente dito que, para a maioria dos autores terminou de dar frutos na década de 1970. Mas, achei importante uma das primeiras e mais marcadas afirmações desses pensadores, a de que uma grande narrativa é resultado de uma construção de pequenas narrativas. A estas Roland Barthes denominou de seqüências e mostrou que o nome dado a cada seqüência já predizia o desenho abstrato dos planos da significação narrativa. Imediatamente pensei ao contrário: que tal construir pequenas narrativas com o pouco material que estava aparecendo e deixar o que o conjunto delas apresentasse a fisionomia procurada, fosse por coordenação, fosse por subordinação? E da mesma época, fui rever o livro O Pensamento Selvagem de Lévi-Straus. Valeu-me, e bastante, o cohecimento do método bricolagem, que este autor acredita ser capaz de dar conta de compor fisionomias de sociedades ou grupos descnhecidos. Achei, também, que aqui estava um outro recurso, não mais para análises, mas para criações, como hoje fazem alguns artistas plásticos e, mesmo alguns historiadores. E a fundamentação histórica? Não sabia, por mim mesmo, como realizá-la, pois estou afastado dos grandes debates históricos. Mas se sabia o que não sabia, sabia, e muito bem, o que não queria: as preocupações básicas e as vezes, absolutizadas, da historiografia positivista. Resolvi, então, me fundamentar em afirmações, não...
My basic objective was to write a possible history of a community's musical activity: The United Presbyterian Church of Sao Paulo. Under the point of view of the studies with the languages, the history has its equivalent procedures of a Narrative. In a first moment I took in the authors that studied the structures of the narratives, among them Svetan Todorov and Roland Barthes. My search was not the one of studyng thhe thought structuralist that, for most of the authors it finished giving results in the decade of 1970. But, I found important one, of the firsts and more remarkable statements from those thinkers, the one that a great narratives is resulted of a construction of small narratives. To these, Roland Barthes denominated sequences, and is showed that the name of each sequence already predicted the apsstract drawing of the plans of the significance of the narrative. Immediately I thought the oppositive: what such to build small narratives with the littlel material that was appearing and to let thar whole think showed the physiognomy, was it for coordination or subordination? I went to review the book O Pensamento Selvagem by Lévi-Straus, wrote in the same decade. It was worth me, and plenty, the knowledge of the method bricolage, that this author believes to be canaple to give bill of composing physkognomies of societies or ignored goups. I found, also, that here it was another resource, not more for analyses, but for creations, as they make some platic artists today and, same, some historians. And the historial fundamentals? I didn't know, by myself, how to accomplish it, because I am moved away of the great historical debates. But it was known what I didn't know, knew, and very well what I didn't want: the basic concerns and the times, absolutely, of the historiography positivism. I determined, then, to base me in statements... (Complete abstract click electronic access below)
My basic objective was to write a possible history of a community's musical activity: The United Presbyterian Church of Sao Paulo. Under the point of view of the studies with the languages, the history has its equivalent procedures of a Narrative. In a first moment I took in the authors that studied the structures of the narratives, among them Svetan Todorov and Roland Barthes. My search was not the one of studyng thhe thought structuralist that, for most of the authors it finished giving results in the decade of 1970. But, I found important one, of the firsts and more remarkable statements from those thinkers, the one that a great narratives is resulted of a construction of small narratives. To these, Roland Barthes denominated sequences, and is showed that the name of each sequence already predicted the apsstract drawing of the plans of the significance of the narrative. Immediately I thought the oppositive: what such to build small narratives with the littlel material that was appearing and to let thar whole think showed the physiognomy, was it for coordination or subordination? I went to review the book O Pensamento Selvagem by Lévi-Straus, wrote in the same decade. It was worth me, and plenty, the knowledge of the method bricolage, that this author believes to be canaple to give bill of composing physkognomies of societies or ignored goups. I found, also, that here it was another resource, not more for analyses, but for creations, as they make some platic artists today and, same, some historians. And the historial fundamentals? I didn't know, by myself, how to accomplish it, because I am moved away of the great historical debates. But it was known what I didn't know, knew, and very well what I didn't want: the basic concerns and the times, absolutely, of the historiography positivism. I determined, then, to base me in statements... (Complete abstract click electronic access below)
Descrição
Palavras-chave
Música sacra, Igreja presbiteriana - São Paulo (SP), Música nas igrejas, Presbyterian church - São Paulo
Como citar
KERR, Samuel Moraes. A história da atividade musical na Igreja Presbiteriana Unida de São Paulo: uma fisionomia possível. 2000. 147 f. Dissertação (mestrado) - Universidade Estadual Paulista, Instituto de Artes de São Paulo, 2000.