O estatuto enunciativo do intérprete violonista
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Data
2017-07-31
Autores
Lemos, Caio Victor de Oliveira [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
O presente trabalho investiga o estatuto do intérprete de violão. Partindo da hipótese de que o intérprete contribui para a construção de sentido em uma realização musical, constatou-se a insuficiência de um instrumental teórico que possibilitasse a averiguação de sua relevância enquanto instância participativa do fazer musical. A perspectiva de uma abordagem enunciativa mostrou-se oportuna para os propósitos deste trabalho, além de contribuir para a construção de uma cientificidade na área musical. A dissertação foi desenvolvida em quatro capítulos. O primeiro trata das principais designações atribuídas à atividade do intérprete e das consequências teóricas de cada assunção. No segundo, é traçado um paralelo entre linguística e música, apresentando a afinidade de problemáticas presentes em ambas as áreas, ao mesmo tempo em que desenha paulatinamente o panorama enunciativo sobre essas questões. No terceiro, foram apresentados os princípios da teoria enunciativa, basicamente: as categorias de pessoa, tempo e espaço; os mecanismos de instauração dessas categorias no enunciado; além dos conceitos de dialogismo, uso linguístico e contrato veridictório. Foram apontadas algumas possibilidades de transposição desses princípios e sua aplicação mostrou-se, assim, exequível na área musical. Por fim, no quarto capítulo, foram analisados, dentro de uma perspectiva enunciativa, dois enunciados musicais em vídeo de diferentes intérpretes —Paul Galbraith e Kazuhito Yamashita—tocando a mesma obra, Nocturnal op. 70 de Benjamin Britten. Concluiu-se que é possível atribuir um estatuto ao intérprete de violão por meio de uma abordagem enunciativa. As marcas da enunciação no enunciado nos permitiram depreender como se deu a construção de sentido, as estratégias discursivas, a imagem que o enunciador construiu de si mesmo, além da intencionalidade marcada, atribuindo assim um lugar central ao intérprete na construção do sentido musical.
This work investigates the status of the guitar performer. Starting from the hypothesis that the performer contributes to the construction of meaning in a musical performance, we have come across the insufficiency of the theoretical tools to ascertain his/her relevance as a participating instance in music making. The perspective of an enunciative approach has proven to be opportune for the purposes of this investigation, also contributing to the establishment of a more specific perspective in the music field. This Master’s thesis is divided into four chapters. The first one deals with the most prominent designations attributed to the performer’s activity and the theoretical consequences of each assumption. On the second one, a parallel is drawn between linguistics and music, presenting the kinship between the issues in both areas, at the same time progressively sketching an overview of the enunciation aspects related to them. On the third chapter, the principles of the enunciation theory were presented, in short: the categories of person, time, and space; the mechanism for the establishment of these categories on text/speech; as well as the concepts of dialogism, linguistic usage, and veridictory contract. Some possibilities of transposition of these principles were presented and thus their application has proven viable in the music domain. Finally, on the fourth chapter, two performances were analyzed from an enunciative perspective: videos of two different interpreters — Paul Galbraith and Kazuhito Yamashita — playing the same piece, Benjamin Britten’s Nocturnal op. 70. Our investigation and its application to concrete texts led us to conclude that a status can be attributed to the guitar performer through an enunciative approach. The enunciation marks inscribed on the text allowed us to capture the process of the construction of meaning, the discursive strategies, the image that the enunciator created for him/herself, as well as the intentionality outlined on the text, thus assigning a central role to the performer in the construction of musical meaning.
This work investigates the status of the guitar performer. Starting from the hypothesis that the performer contributes to the construction of meaning in a musical performance, we have come across the insufficiency of the theoretical tools to ascertain his/her relevance as a participating instance in music making. The perspective of an enunciative approach has proven to be opportune for the purposes of this investigation, also contributing to the establishment of a more specific perspective in the music field. This Master’s thesis is divided into four chapters. The first one deals with the most prominent designations attributed to the performer’s activity and the theoretical consequences of each assumption. On the second one, a parallel is drawn between linguistics and music, presenting the kinship between the issues in both areas, at the same time progressively sketching an overview of the enunciation aspects related to them. On the third chapter, the principles of the enunciation theory were presented, in short: the categories of person, time, and space; the mechanism for the establishment of these categories on text/speech; as well as the concepts of dialogism, linguistic usage, and veridictory contract. Some possibilities of transposition of these principles were presented and thus their application has proven viable in the music domain. Finally, on the fourth chapter, two performances were analyzed from an enunciative perspective: videos of two different interpreters — Paul Galbraith and Kazuhito Yamashita — playing the same piece, Benjamin Britten’s Nocturnal op. 70. Our investigation and its application to concrete texts led us to conclude that a status can be attributed to the guitar performer through an enunciative approach. The enunciation marks inscribed on the text allowed us to capture the process of the construction of meaning, the discursive strategies, the image that the enunciator created for him/herself, as well as the intentionality outlined on the text, thus assigning a central role to the performer in the construction of musical meaning.
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Palavras-chave
Interpretação musical, Execução musical, Semiótica, Benjamin Britten, Instrução e estudo de violão, Musical performance, Musical execution, Semiotics, Guitar instruction and study