A construção de sentido na performance de violão solo no ato e no tempo
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Data
2022-05-31
Autores
Lemos, Caio Victor de Oliveira [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
Esta tese investiga a construção de sentidos em performances de violão solo pelas relações sincrônicas e diacrônicas tecidas em ato, isto é, pela composição entre elementos estruturais/imanentes e sua colocação dentro do contexto histórico-social. Para isso, parte-se da discussão sobre a performance musical enquanto objeto de estudos, seus limites, suas relações intertextuais, seu caráter sincrético, e, com isso, propõe-se a adoção de um modelo teórico que considere a dinâmica do ato aliada às mais variadas propostas performáticas – das mais tradicionais às mais experimentais –, traçando o eixo comum que possibilite encontrar a cada caso os elementos pertinentes, a distribuição dos valores discursivos, a relação entre os atores da cena performática, etc. Em seguida, é apresentada a proposta teórico-metodológica que subsidia esta pesquisa, a saber, a semiótica tensiva, a partir de autores como Zilberberg (2011), Fontanille e Zilberberg (2001) e Tatit (2019). Nesse momento, os elementos norteadores da teoria são focalizados, em especial a relação entre os eixos da intensidade (sensível) e extensidade (inteligível), para a composição do sentido do enunciado, com explicações e exemplos do universo musical, mostrando assim tanto a sua pertinência conceitual quanto a exequibilidade na performance musical. O próximo passo é a discussão dos conceitos de dialogismo, uso linguístico e práxis enunciativa, que tratam de um mesmo fenômeno – relações entre individual e social, enunciação e história na composição dos sentidos do enunciado –, porém, por diferentes perspectivas. Opta-se pela análise da performance musical a partir do instrumental da práxis enunciativa, explicitando-se a pertinência dos aspectos diacrônicos nas considerações sobre o enunciado musical. Apresenta- se, então, duas análises a partir dos conceitos discutidos. Na primeira, parte-se da comparação entre registros de áudio com datas substancialmente distanciadas no tempo (1936, 1958 e 2016) de diferentes performers representativos de suas gerações (respectivamente Andrés Segovia, John Williams e Meng Su) executando a mesma obra, o quarto movimento (“Vivo ed energico”) da sonata Omaggio a Bocherini (1934), de Mario Castelnuovo-Tedesco. Ilustra-se como as decisões performáticas tomadas por cada um dos violonistas compõem estratégias discursivas que em última instância criam imagens distintas (ethos) dos enunciadores no e pelo discurso. Em seguida, a partir das operações de práxis apresentadas e da comparação entre os enunciados, demonstra-se como os usos performáticos seguem uma dinâmica, ganhando ou perdendo impacto através dos tempos. A segunda análise se dá sobre o registro audiovisual de uma apresentação de Pavel Steidl (2010) executando obra de sua autoria, Lambada für Elise, incluindo no debate questões de sincretismo e considerando, na composição do enunciado musical, os elementos sonoros e visuais disponíveis ao enunciatário. Vê-se, então, a importância de se considerar a performance para além dos sons musicais, bem como em seu diálogo com a tradição e a história, para se compreender a construção do humor que marca esse enunciado. Por fim, o percurso teórico e analítico acaba por demonstrar a eficácia e o proveito da mobilização dos conceitos em torno da práxis enunciativa, construindo um ferramental eficaz para o músico e o analista interessados em descrever a construção de escolhas e valores no tempo e no ato da performance musical.
This dissertation investigates the construction of meaning in solo guitarperformances through the synchronic and diachronic relations woven into the performing act,i.e., through the composition of structural/immanent elements and their insertion in its socialhistorical context. To do so, a discussion on musical performance as a research object isundertaken, including its limits, its intertextual relations, its syncretic nature, and, thus, theadoption of a theoretical model fit for a dynamic act is proposed, within both traditional andmore experimental music. Such a model must be able to provide a common axis againstwhich, in each case, the relevant elements, the distribution of discursive values, the relation ofactors in the scene, etc. will be made explicit. Next, a theoretical and methodological proposalis presented: tensive semiotics (whose exponents are Zilberberg, Fontanille, and Tatit), whichwill form the basis for this research. Some central elements will be highlighted, especially therelation between the intensive axis (that of sensibility) and the extensive axis (that ofintelligibility), in the composition of meaning in enunciation acts, along with explanations andexamples from the musical realm, showing thus both its conceptual relevance and itsfeasibility in musical analysis. The following step is the discussion of such concepts asdialogism, linguistic use and enunciative praxis, all of which deal with the same phenomenon– the relations between individual and social aspects, enunciation and history in thecomposition of meaning – but from different view points. The choice is made in favor of thetools provided by the enunciative praxis, which provide the means to make explicit therelevance of diachronic aspects in musical discourse. Two analyses are presented under thesepremises. The first one offers a comparison between audio registers ranging in time (1936,1958, 2016) by different performers representative of their respective generations (AndrésSegovia, John Williams, Meng Su), all playing the same piece, the forth movement (“Vivo edenergico”) of the sonata Omaggio a Bocherini, by Mario Castelnuevo-Tedesco. Theperformance choices made by each of the guitar players is shown to make up discursivestrategies, which ultimately create distinctive images (ethos) of the enunciator in and throughdiscourse. The performance uses are shown to follow a certain dynamic, growing or losingimpact through time. The second analysis regards the audiovisual recording of Pavel Steidl’sperformance of his own Lambada für Elise. This discussion encompasses matters ofsyncretism, i.e., the part played by both sound and visual elements available to the audience. It argues then for the importance of considering performance well beyond its musical sounds,as well as its dialog with history and tradition, in the construction of humor as one of theoutstanding features of this interpretation. Lastly, the theoretical and analytical pathundertaken demonstrates the efficacy and gain of mobilizing the concepts around the notionof enunciative praxis, which offers thus effective tools for musicians and analysts interested indescribing the choices and values set in motion in time and in the act of musical performance.
This dissertation investigates the construction of meaning in solo guitarperformances through the synchronic and diachronic relations woven into the performing act,i.e., through the composition of structural/immanent elements and their insertion in its socialhistorical context. To do so, a discussion on musical performance as a research object isundertaken, including its limits, its intertextual relations, its syncretic nature, and, thus, theadoption of a theoretical model fit for a dynamic act is proposed, within both traditional andmore experimental music. Such a model must be able to provide a common axis againstwhich, in each case, the relevant elements, the distribution of discursive values, the relation ofactors in the scene, etc. will be made explicit. Next, a theoretical and methodological proposalis presented: tensive semiotics (whose exponents are Zilberberg, Fontanille, and Tatit), whichwill form the basis for this research. Some central elements will be highlighted, especially therelation between the intensive axis (that of sensibility) and the extensive axis (that ofintelligibility), in the composition of meaning in enunciation acts, along with explanations andexamples from the musical realm, showing thus both its conceptual relevance and itsfeasibility in musical analysis. The following step is the discussion of such concepts asdialogism, linguistic use and enunciative praxis, all of which deal with the same phenomenon– the relations between individual and social aspects, enunciation and history in thecomposition of meaning – but from different view points. The choice is made in favor of thetools provided by the enunciative praxis, which provide the means to make explicit therelevance of diachronic aspects in musical discourse. Two analyses are presented under thesepremises. The first one offers a comparison between audio registers ranging in time (1936,1958, 2016) by different performers representative of their respective generations (AndrésSegovia, John Williams, Meng Su), all playing the same piece, the forth movement (“Vivo edenergico”) of the sonata Omaggio a Bocherini, by Mario Castelnuevo-Tedesco. Theperformance choices made by each of the guitar players is shown to make up discursivestrategies, which ultimately create distinctive images (ethos) of the enunciator in and throughdiscourse. The performance uses are shown to follow a certain dynamic, growing or losingimpact through time. The second analysis regards the audiovisual recording of Pavel Steidl’sperformance of his own Lambada für Elise. This discussion encompasses matters ofsyncretism, i.e., the part played by both sound and visual elements available to the audience. It argues then for the importance of considering performance well beyond its musical sounds,as well as its dialog with history and tradition, in the construction of humor as one of theoutstanding features of this interpretation. Lastly, the theoretical and analytical pathundertaken demonstrates the efficacy and gain of mobilizing the concepts around the notionof enunciative praxis, which offers thus effective tools for musicians and analysts interested indescribing the choices and values set in motion in time and in the act of musical performance.
Descrição
Palavras-chave
Performance musical, Violão solo, Semiótica musical, Práxis enunciativa, Sincretismo, Análise musical