Il Desiderio de Ercole Bottrigari: uma discussão teórica sobre o uso dos genera gregos na polifonia do final do séc. XVI
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2021-09-23
Autores
Soares, Karina Bimbatti Assumpção
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Universidade Estadual Paulista (Unesp)
Resumo
Tradicionalmente os genera gregos são tetracordes formados por uma sequência melódica de quatro notas, sendo duas notas chamadas de fixas e localizadas uma em cada extremidade do tetracorde e outras duas chamadas de notas móveis e encontradas entre as duas notas fixas. O tetracorde é classificado em gênero diatônico, cromático e enarmônico, a depender da posição das notas móveis. As três classificações possíveis para o gênero harmônico são conhecidas como genera gregos, os quais foram discutidos por diversos teóricos renascentistas, desde a concepção sobre o que são os genera gregos até a sua aplicação na polifonia. Ao final do século XVI temos teóricos e compositores explorando as possibilidades dos genera gregos na música polifônica e como resultado temos uma música cheia de cromatismos e que por vezes foge ao estilo contrapontístico. Um dos grandes problemas para a prática musical do final do séc. XVI remete à dificuldade em afinar o semitom – e ao sistema de afinação da época- nos instrumentos quando dois ou mais instrumentos tocam juntos. Esse problema é relatado por Ercole Bottrigari (1531-1612) em seu tratado Il Desiderio (1594) e conceitos como gêneros harmônicos, afinações e música ficta são abordados no escopo do tratado do autor. Os autores em sua grande maioria concordavam sobre o conceito de gêneros harmônicos, contudo a forma como eram aplicados à polifonia – e por vezes se era possível fazê-lo – poderia variar de acordo com o compositor ou teórico musical. Dessa maneira, o presente trabalho se inicia com informações sobre a vida e as obras de Ercole Bottrigari e uma contextualização histórico-musical com informações explicativas a respeito do conteúdo do tratado Il Desiderio e da sua tradução, a qual será apresentada na sequência. Na parte final do trabalho apresentamos os aspectos e princípios básicos da polifonia do século XV-XVI para que possamos compreender em que contexto se dará o uso dos genera gregos. Para isso, faz-se necessário apresentar parâmetros e ferramentas para análises relacionados à música polifônica, tornando possível a análise da mesma para identificação da aplicação desses gêneros harmônicos. Após a identificação, é possível estabelecer diferenças de uso de um mesmo genera grego – principalmente o cromático- entre os compositores e os teóricos musicais.
Traditionally, the Greek genera are tetrachords formed by a melodic sequence of four notes, with two notes called fixed and located one at each end of the tetrachord and another two called moving notes and found between the two fixed notes. The tetrachord is classified into diatonic, chromatic and enharmonic genres, depending on the position of the moving notes. The three possible classifications for the harmonic genre are known as Greek genera, which were discussed by several Renaissance theorists, from the conception of what the Greek genera are to their application in polyphony. At the end of the 16th century, we have theorists and composers exploring the possibilities of the Greek genera in polyphonic music, and as a result we have music full of chromaticism and that sometimes escapes the contrapuntal style. One of the most problems for musical practice at the end of the 16th century refers to the difficulty in tuning the semitone – and the tuning system of the time – in instruments when two or more instruments play together. This problem is reported by Ercole Bottrigari (1531-1612) in his treatise Il Desiderio (1594) and concepts such as harmonic genres, tunings and musica ficta are addressed within the scope of the author's treatise. The vast majority of authors agreed on the concept of harmonic genres, however the way they were applied to polyphony – and sometimes if it was possible to do so – could vary according to the composer or music theorist. Thus, the present work begins with information about the life and works of Ercole Bottrigari and a historical-musical contextualization with explanatory information about the content of the treatise Il Desiderio and its translation, which will be presented next. In the final part of the work, we present the basic aspects and principles of polyphony from the 15th to 16th century so that we can understand the context in which the Greek genera will be used. For this, it is necessary to present parameters and tools for analysis related to polyphonic music, making it possible to analyze it to identify the application of these harmonic genres. After identification, it is possible to establish differences in the use of the same Greek genera – mainly the chromatic one – between composers and musical theorists.
Traditionally, the Greek genera are tetrachords formed by a melodic sequence of four notes, with two notes called fixed and located one at each end of the tetrachord and another two called moving notes and found between the two fixed notes. The tetrachord is classified into diatonic, chromatic and enharmonic genres, depending on the position of the moving notes. The three possible classifications for the harmonic genre are known as Greek genera, which were discussed by several Renaissance theorists, from the conception of what the Greek genera are to their application in polyphony. At the end of the 16th century, we have theorists and composers exploring the possibilities of the Greek genera in polyphonic music, and as a result we have music full of chromaticism and that sometimes escapes the contrapuntal style. One of the most problems for musical practice at the end of the 16th century refers to the difficulty in tuning the semitone – and the tuning system of the time – in instruments when two or more instruments play together. This problem is reported by Ercole Bottrigari (1531-1612) in his treatise Il Desiderio (1594) and concepts such as harmonic genres, tunings and musica ficta are addressed within the scope of the author's treatise. The vast majority of authors agreed on the concept of harmonic genres, however the way they were applied to polyphony – and sometimes if it was possible to do so – could vary according to the composer or music theorist. Thus, the present work begins with information about the life and works of Ercole Bottrigari and a historical-musical contextualization with explanatory information about the content of the treatise Il Desiderio and its translation, which will be presented next. In the final part of the work, we present the basic aspects and principles of polyphony from the 15th to 16th century so that we can understand the context in which the Greek genera will be used. For this, it is necessary to present parameters and tools for analysis related to polyphonic music, making it possible to analyze it to identify the application of these harmonic genres. After identification, it is possible to establish differences in the use of the same Greek genera – mainly the chromatic one – between composers and musical theorists.
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Palavras-chave
Bottrigari, Música polifônica, Genera gregos, Renascimento, Poliphonic music, Greek genera, Renaissance