Música, linguagem e (re)conhecimento

Abstract

The musical experience gained an enormous dimension with the advancement of digital technologies. One of the main differences huge sound supply that has never been greater in any other time like now. The complete work of an author, however productive has been, however many papers he used to write it and yet hours of rehearsals and recordings have been spent, it is now up to on small devices ranging from the size of a toothpick to a or not at all: they can be accessed from a remote point, which we figuratively call the cloud, even our electronic devices. In fact, we can have entire catalogs, authors diverse, from the same epoch, from all epochs, if we wish. The incredible ease with which it became to make a recorded record, with incredibly high quality compared to two decades past, rivals the stunning availability of documents from the past and of the present, through initiatives of public and private digital portals, large library or new virtual repositories that reorganize in a coherent file many libraries. The experience of doing and listening to music became more common, after all we can have a home recording and music editing studio to make our own demonstration feasible, or even listen in the car or on public transport the repertoires once available only for special and sometimes very exclusive occasions, such as summer mornings Sunday of a Venetian parish church from the early 18th century, a small Parisian cafe from the 1930s, or an unrepeatable night of a rock festival in the late 1960s. But our capacity for enjoyment cannot be intended to be total, nor at the same level of processing of these incredible repertoires that we access today. Something that can be seen at the time of these two decades 21st century is that our capacity for reflection on ideas and musical practices also need to change. Instead of the apparent trivialization of all this musical heritage transformed into computer data, we can understand how different times and places achieved their music. In a world that is being rapidly ratified by globalization determined by the canonical imposition of the great centers radiators of technology and information, we realized, however, that some things do not change. This is because new tools and techniques serve old ideas.In the first chapter, Geoffrey Baker, of long years studying the phenomenon of multiplication of orchestras in the recent history of Venezuela, which should correspond to a massive process of musical education and consequent citizen emancipation, offers arguments that weaken such idea and point to the process as a tool of doubtful purpose, because in the end it seems to be a strategy of social control and domination of the state on the individual, a finding that is never consistent with the construction of free will. Baker refers to Favio Shifres, who in the next chapter does not leave room for doubts to those who still have them: the cultural south is necessary recognize and value their own experiences of manifesting language, in this case musical, to then reach an emancipation of knowing. The (re) knowledge is therefore to make the experience visible outside of the canon, since otherwise only a silent and subordinate, full of mistakes. Graziela Bortz's text refers to the first words of this presentation leading to think that the technological race also ends because it is a challenge to understand the human being. The challenges educational aspects of the previous text here seem to echo as challenges to human essence itself. The social dimension of music continues to be discussed by João Quadros Jr. in order to complete the section dedicated to cognition and music education. To close the block, Beatriz Ilari discusses the latest research in the field of musical cognition, involving central aspects that the previous authors were concerned, such as the construction of a rationale musical, emotionality and impact on social relationships.The second block is intended for musicological discussions that lose sight of many of the preceding elements. Here we see diverse concerns with theory, analysis and musical interpretation for which historical, semiotic contributions and approaches are called intertextual analytics. Robert Gjerdingen's work echoes in almost everyone the texts here in this section, since this researcher revealed effectively the teaching-learning and musical creation of the tradition of Neapolitan origin that in the 18th century would reach with consequences and traces for many decades. This tradition provided for pre-compositional stages that guided a massive process of musical formation and elaboration. These are the counterpoint schemes, virtual models from which they were oriented (and are still oriented) many practical achievements with great possibility of uses and variations. Mário Trilha looks at one of these schemes in particular, Romanesca, identifying wide use in the middle of instrumental works of 11 several authors from the second half of the 18th century, in contrast to its frequent application in the opening of movements, until then the way most commonly seen in the European repertoire. Romanesque remains the point of attention in the following text, in which I argue for her interaction with the subject of love in opera would be Italian. The theory of musical topics, were they not problems methodological factors that have restricted it, could have come here as a support for understanding meanings. However, the issue seems to be much more correct in a discussion on how to represent and interpret ideas and their context, thus being a debate about mimesis.The last text in this block could be the first in the next section. Guilherme Monteiro, who carried out the first integral analysis of a work dimension of a Brazilian author, following the theoretical framework Gjerdingen and showing associations with musical topics, highlights here some excerpts from the Six Funeral Responsibilities of João de Deus Castro Lobo who connect because of the unusual structure and textual similarities. For the interpretative analytical approach I took the exciting opportunity to collaborate, literary sources were brought and above all iconographic ones that seem to make sense of what the Minas Gerais composer in his last musical creation. Thus, the next section, dedicated to musical iconography, appears in a timely manner. In it, Vergara shows us approximations of musical education, or through music, and homoerotic social practice in iconographic representations in Classical Antiquity, which reveals other social constructions and artistic understandings.