A influência da voz sobre a prática instrumental: a fala, o canto e sua aplicação na viola
Carregando...
Data
2022-06-29
Autores
Faria, Cindy Folly [UNESP]
Título da Revista
ISSN da Revista
Título de Volume
Editor
Universidade Estadual Paulista (Unesp)
Resumo
Essa tese se propõe a investigar a influência da voz falada e cantada sobre a prática instrumental desde o século XVI até a atualidade através da observação do que dizem os instrumentistas a respeito da imitação da voz. Busca-se aplicar recursos e princípios da voz para os meios técnico-musicais específicos da viola, utilizando-se de contribuições de métodos e tratados vocais e instrumentais de vários períodos da história, além de contribuições de violistas importantes da atualidade. Utiliza-se especialmente o guia do caminho percorrido por Charles de Bériot na sua busca pela imitação da voz, mas outros autores também são utilizados. Os recursos técnico-musicais escolhidos para essa transferência são o portamento di voce no sentido de legato, tratando sobre aspectos de conexão entre notas e elementos musicais; as nuances de dinâmica, tratando sobre aspectos de sonoridade e messa di voce, ou son filé; a pronúncia do arco, que trata sobre acento e ataque das notas; e pontuação, que analisa a importância do controle na execução das pausas, silêncios e respirações entre as notas, inclusive na articulação. Acredita-se que a voz falada e a voz cantada possuem um forte poder discursivo e comunicativo, e que seus princípios podem ser úteis aos instrumentistas quando aplicados ao repertório de qualquer estilo ou período musical. Ao utilizar a própria voz ou olhar o exemplo de bons cantores ou oradores, o instrumentista traria para o próprio corpo as sensações físicas do que mentalmente ele deseja realizar, para então utilizar seu corpo de forma mais consciente para superar questões técnico-musicais no seu instrumento.
This thesis proposes to investigate the influence of the spoken and sung voice on the instrumental practice from the 16th century to the present day through the observation of what the instrumentalists say about the imitation of the voice. It seeks to apply resources and principles of the voice to the specific technical-musical means of the viola, using contributions from vocal and instrumental methods and treatises from various periods of history, as well as contributions from important violists from today. The guide of the path taken by Charles de Bériot is especially used in his search for the imitation of the voice, but other authors are also used. The technical-musical resources chosen for this transfer are the portamento di voce in the sense of legato, dealing with aspects of connection between notes and musical elements; the nuances of dynamics, dealing with aspects of sonority and messa di voce, or son filé; the pronunciation of the bow, which deals with the accent and attack of the notes; and punctuation, which analyzes the importance of control in the execution of pauses, silences and breaths between notes, including the articulation pauses. It is believed that the speaking and singing voices have a strong discursive and communicative power, and that their principles can be useful to instrumentalists when applied to the repertoire of any musical style or period. By using his own voice or looking at the example of good singers or speakers, the instrumentalist would bring to his own body the physical sensations of what he mentally wants to accomplish, and then use his body more consciously to overcome technical-musical issues in his instrument.
This thesis proposes to investigate the influence of the spoken and sung voice on the instrumental practice from the 16th century to the present day through the observation of what the instrumentalists say about the imitation of the voice. It seeks to apply resources and principles of the voice to the specific technical-musical means of the viola, using contributions from vocal and instrumental methods and treatises from various periods of history, as well as contributions from important violists from today. The guide of the path taken by Charles de Bériot is especially used in his search for the imitation of the voice, but other authors are also used. The technical-musical resources chosen for this transfer are the portamento di voce in the sense of legato, dealing with aspects of connection between notes and musical elements; the nuances of dynamics, dealing with aspects of sonority and messa di voce, or son filé; the pronunciation of the bow, which deals with the accent and attack of the notes; and punctuation, which analyzes the importance of control in the execution of pauses, silences and breaths between notes, including the articulation pauses. It is believed that the speaking and singing voices have a strong discursive and communicative power, and that their principles can be useful to instrumentalists when applied to the repertoire of any musical style or period. By using his own voice or looking at the example of good singers or speakers, the instrumentalist would bring to his own body the physical sensations of what he mentally wants to accomplish, and then use his body more consciously to overcome technical-musical issues in his instrument.
Descrição
Palavras-chave
Viola, Voz falada, Voz cantada, Fala, Canto, Influência da voz, Prática instrumental