Contribuições da retórica musical nos processos de transcrição da suite BWV 1008 de J. S. Bach para o violão de onze cordas
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Data
2018-02-21
Autores
Martelli, Paulo Cesar [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
A presente tese discute as contribuições da retórica musical nos processos de transcrição do repertório solista do compositor alemão J. S. Bach (1685-1750) para o violão de onze cordas, no inglês, alto-guitar. Trata-se de uma pesquisa alinhada aos fundamentos da Musicologia Histórica, que resulta em uma série de transcrições, concertos e gravações historicamente orientadas. Entre os referenciais teóricos adotados estão os autores basilares da Musicologia Histórica, como Harnoncourt (1989), Kermann (1987), Yates (2013) e Bartel (1997), além dos autores brasileiros Nogueira (2011), Souto (2015) e Cardoso (2015). Dos aspectos metodológicos, pode-se classificar esta pesquisa como documental, de cunho bibliográfico. No segundo momento, realizou-se uma análise comparativa entre obras barrocas. Este estudo se justifica por contribuir para as discussões acerca do violão de onze cordas, até hoje pouco explorado acadêmica e artisticamente. Podemos citar também a necessidade de ampliação do repertório para este instrumento, além do incremento às possibilidades de pesquisas a respeito do violão de onze cordas. Buscamos com isso aplicar princípios da retórica musical barroca na elaboração de uma performance musical sobre o repertório alemão do século XVIII. O estudo sobre a obra de J. S. Bach, a partir dos elementos retórico-musicais, deram subsídios para melhor compreensão de seus processos composicionais, e à aquisição de ferramentas teóricas norteadoras dos processos de transcrição do repertório barroco. O concerto da defesa de tese apresenta a transcrição para violão de onze cordas da Suite II para Violoncelo de J. S. Bach. A presente pesquisa teve como resultado final a gravação de um CD e de um DVD, nos quais apresento diversas obras barrocas transcritas para violão de onze cordas, sob a perspectiva da performance historicamente orientada.
This thesis discusses the contributions o f musical rhetoric in the transcription processes of the solo repertoire composed by J. S. Bach (1685- 1750) for the eleven-string guitar, or alto- guitar. It is a research based on the grounds of Hi storical Musicology, which results in a series of historically oriented transcriptions, concerts and recordings. Among the theoretical references adopted, we utilized the fundamental authors of His torical Musicology, such as Harnoncourt (1989), Kermann (1987), Yates (2013) and Bartel (1997), bes ides Brazilian authors Nogueira (2011), Souto (2015) and Cardoso (2015). In terms of methodology, one can classify this research as documentary, of bibliographic character. In a secon d moment, we realized a comparative analysis between baroque works. This study is justified by i ts contribution to the discussions about the alto-guitar, until now insufficiently explored acad emically and artistically. We can also cite the nee d to expand the repertoire for this instrument, as we ll as to increase the possibilities for research on alto-guitar. We seek to apply principles of baroque musical rhetoric in the elaboration of a musical performance on the German repertoire of the eightee nth century. The study of the work of J. S. Bach, from the rhetoric-musical elements, gave subs idies for a better understanding of its compositional processes, and the acquisition of the oretical tools guiding the processes of transcription of the baroque repertoire. The thesis defense concert features the transcription for alto-guitar from Cello Suite II by J. S. Bach. The present research resulted in the recording of a CD and a DVD, in which I present several Baroque works transcribed for the alto-guitar, from the perspective of historically oriented performance.
This thesis discusses the contributions o f musical rhetoric in the transcription processes of the solo repertoire composed by J. S. Bach (1685- 1750) for the eleven-string guitar, or alto- guitar. It is a research based on the grounds of Hi storical Musicology, which results in a series of historically oriented transcriptions, concerts and recordings. Among the theoretical references adopted, we utilized the fundamental authors of His torical Musicology, such as Harnoncourt (1989), Kermann (1987), Yates (2013) and Bartel (1997), bes ides Brazilian authors Nogueira (2011), Souto (2015) and Cardoso (2015). In terms of methodology, one can classify this research as documentary, of bibliographic character. In a secon d moment, we realized a comparative analysis between baroque works. This study is justified by i ts contribution to the discussions about the alto-guitar, until now insufficiently explored acad emically and artistically. We can also cite the nee d to expand the repertoire for this instrument, as we ll as to increase the possibilities for research on alto-guitar. We seek to apply principles of baroque musical rhetoric in the elaboration of a musical performance on the German repertoire of the eightee nth century. The study of the work of J. S. Bach, from the rhetoric-musical elements, gave subs idies for a better understanding of its compositional processes, and the acquisition of the oretical tools guiding the processes of transcription of the baroque repertoire. The thesis defense concert features the transcription for alto-guitar from Cello Suite II by J. S. Bach. The present research resulted in the recording of a CD and a DVD, in which I present several Baroque works transcribed for the alto-guitar, from the perspective of historically oriented performance.
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Palavras-chave
J. S. Bach, Violão de onze cordas, Retórica musical, Música historicamente orientada, J.S. Bach, Musical rhetoric, Historically oriented music, Alto-guitar