Tudo está dito ?: um estudo sobre o conceito de obra musical
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Data
2006-06-19
Autores
Cupani, Alicia [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
O termo obra musical tem sido empregado genericamente a todo tipo de música, sem atentar às possíveis diferenças conceituais no amplo espectro da tradição erudita ocidental, notadamente no século XX. As novas tendências e desdobramentos musicais desse século questionaram o próprio conceito de música, e por extensão, o de obra musical tal qual concebido até então: um produto acabado, autônomo, executado em salas de concerto, condicionado a uma partitura que detalha comprecisão as intenções do compositor. Algumas tendências colocaram em xeque a tradição musical com criações que desafiam esse conceito (a música eletrônica ou a aleatória, por exemplo). Com isso, parece existir uma discrepância entre o que se apresenta como música e a forma como se recebe essa música, enquadrando-a inadequadamente no conceito de obra musical. Como atesta o título, esta pesquisa analisa o conceito de obra musical, acreditando que o mesmo é fundamental para uma compreensão mais adequada da música. Para tanto, procuramos estudar a discussão teórica a respeito, bem como traçar o desenvolvimento histórico desse conceito (sobretudo no século XIX), e observar a sua validade na contemporaneidade, contrapondo-o a alguns exemplos musicais.
The expression musical work has been attributed generically to all kinds of music without taking account of possible differences in the broad range of western classical tradition, noticeaby in the 20th century. New musical trends and musical developments during that century questioned the very concept of music including the concept of the musical work as it had been understood until then: a finished autonomous product played in concert halls, subject to a score where the intentions of the composer are precisely detailed. Some trends went against the musical tradition with creations thet challenge this concept (eletronic music or aleatory music, for instance). Thus there seems to be a discrepancy between what is presented as music and the way in which this music is received, classifying it inadaquately as musical work. As the title indicates, this research analyzes the concept of musical work, in the belief that this concept is fundamental for a deeper understanding of music. To this end, we have sought the relevant theoretical arguments, al well as to trace he historical development of this concept (principally in the 19th century), and to observe how valid it is today, comparing it with some musical examples.
The expression musical work has been attributed generically to all kinds of music without taking account of possible differences in the broad range of western classical tradition, noticeaby in the 20th century. New musical trends and musical developments during that century questioned the very concept of music including the concept of the musical work as it had been understood until then: a finished autonomous product played in concert halls, subject to a score where the intentions of the composer are precisely detailed. Some trends went against the musical tradition with creations thet challenge this concept (eletronic music or aleatory music, for instance). Thus there seems to be a discrepancy between what is presented as music and the way in which this music is received, classifying it inadaquately as musical work. As the title indicates, this research analyzes the concept of musical work, in the belief that this concept is fundamental for a deeper understanding of music. To this end, we have sought the relevant theoretical arguments, al well as to trace he historical development of this concept (principally in the 19th century), and to observe how valid it is today, comparing it with some musical examples.
Descrição
Palavras-chave
Música - História, Romantismo - Séc. XX, Obra musical - Conceito, Music - History
Como citar
CUPANI, Alicia. Tudo está dito ?: um estudo sobre o conceito de obra musical. 2006. 130 f. Dissertação (mestrado) - Universidade Estadual Paulista, Instituto de Artes, 2006.