Música em diálogo

Abstract

In May 2018, another edition of the International Symposium of Ibero-American Music took place, returning to Manaus for its 5th edition, after visiting Salamanca, Lisbon and Belo Horizonte, where it was housed by the largest local Universities. V SIMIBA had a large number of participants, with communications, lectures, commented concerts, posters and experience reports. The national and international guests constituted a scientific committee that, in addition to the selection of works, contained in a separate notebook and available on the event website, selected the best texts for this publication. These texts were grouped by lines of research, revealing thematic trends of musical scientific research in or related to the Ibero-American space. The commission also found it useful and interesting that works of interdisciplinarity, intertextuality and addressing methodologies applicable to thinking about music or explicit reflection on the actuality of art could be contemplated in order to enrich and broaden horizons on the one hand, but still offer counterpoint of views on the other. The first block of this book brings together work on music analysis and, due to the presence of renowned researcher Robert Gjerdingen of Northwestern University of Chicago, many submissions have focused around the analysis through the counterpoint schematae studied by the American since the last quarter of the year. twentieth century, culminating in his book The Music in the Galant Style (Cambridge, 2007). Other researchers and works succeeded him in a complementary and affirmative manner, however, without exhausting the broad possibilities of the process involving cognitive, educational, and interpretative aspects beyond musical composition. Since music under this bias is understood as language and therefore predisposed to a discursive strategy, some of the works selected for this volume promote the relationship with rhetoric in a broad sense, or from the perspective of some detail; due to the analytical quality or originality of the object or approach, most of the texts in this block on analysis are circumscribed in the aforementioned theme, constituting important contributions to music material circulating in the Luso-Brazilian space. They are analyzes that observe steps of the rhetorical discourse, or the presence of counterpoint schemes, including to obtain meanings or in the service of reconstructing missing parts in musical works, but still as a performance guide and even as an identification of a communicative system in which they are performed. mentioned schemes add up to musical topics, rhetorical figures and creative process. The contributions of researchers from São Paulo, Espírito Santo and Amazonas even reveal, and beyond the bias of the above approach, the spontaneous formation of a network of interests about the repertoire in transit from the Portuguese to the Brazilian environment between the 18th and 19th centuries. , which also include Italian and Spanish authors whose work has appeared in this space of circulation. The next block deals with more circumscribed works in the traditional musicological bias, in which once again the question of the conscious use of rhetoric in Latin space gains reflection, just as the production of peninsular origin is observed in a space that has made it invisible for years, as in Eastern Europe, demonstrating that it is a rich lode of experiences and productions to be revived and better developed. But the approach to national music also gains representation, from different eras, moods, authors and insertions. Part of this musicology has come to stand out in recent times in what are called studies of Musical Iconography. The images and representations of music, performers, sociability and performative practices find in this context an analytical field of interdisciplinary bias. Here, these studies are related to organizational and language issues, in the case of cinema, as a small display of the incredible versatility that can be used. The block on educational and cognitive processes also represents another strand of music research for which the academic community never loses interest. The works gathered here are produced in a sample already examined by the production that was done by students and researchers from the northern region of Brazil, highlighting the presence of a field that is still little explored in the local context: a musical cognition. As an area of ​​recent study, established as such in the international context only from the 1980s, how music and knowledge research show connections with other interests of music education and even with a performance. Among the works gathered in this block, we can find productions that deal with music teaching and learning processes related to the context of the Amazonian capital, which hosted the event and also reflections focused on the Brazilian context, gathering variables. varied to an understanding of phenomena that are not limited to a geographical reality and are not only of interest to researchers in this region. Such studies can contribute with interdisciplinary perspectives, including historical, sociological approaches or even the concentration of different areas in a study, bringing references from different fields, favoring the understanding of local contexts, offering visibility. Do the same, as interpretive practices, which also form a block here, feed on mitigation with other music subareas and even disciplines from neighboring areas. Here are approaches of historical, ethnological, organic and technical scope. Some objects have dimensions to reflect well beyond the Ibero-American field, others are the only examples of this geographical and cultural insertion. It is clear that under this prism of transversality with other lines, areas and disciplines, the study of interpretative practices is even more interesting. The last block of this publication was reserved for analytical methodologies to address other artistic expressions, thus contributing to intertextual and interdisciplinary studies. The predominance of Erwin Panofsky's theory of art and methodology (1892-1968) reveals a strong rapprochement with a hermeneutic view that, directly or indirectly, sees most studies, not just here. The iconographic and iconological approaches described describe peculiar processes of artistic culture as image culture, of historical essence (ARGAN, 1994). There are also appropriations of meanings, meanings, and semiological background procedures. Above all, a diversity of expressions approached refers to experiences that serve the eyes of the Arts researcher, especially here for Music, to understand which degrees of selection may be many, the only and exclusive way of observing objects and understand the process of knowledge building.