Mudança notacional em transcrição da guitarra barroca para o violão, suas perdas e ganhos: um estudo de caso

Abstract

Musical transcription is found wherever along the literature for fingering string instruments, and for this reason it constitutes a thought-provoking issue around guitar musical performance. The earliest examples of worked transcription for finger string instruments are found along the so called intabulations, which were sixteen—century`s sacred or secular vocal music arrangements for lute and vihuela (and for keyboard arrangements), and had contributed for building their technical-idiomatic language. In order to avoid damages on the musical sense of a work, transcription procedures from earlier tablature to modern notation require identifying codes written in each one which are musically equivalent. This searches therefore is guided by the following question: which criteria could be taken or could be more suitable for transcribing musical works which were written originally for baroque guitar to modern one? In order to answer this question, we seek to propose musical transcription procedures which could be applied to the baroque repertory, by means of case study on Francisco Guerau´s Marizapalos (1674), a work which was written originally for baroque guitar. Theoretical foundation are based on studies carried out by Mammi (1998-1999), Nogueira (2008), Souto (2010), Cardoso (2014), Camargo (2015), Tyler (2011), Tyler and Sparks (2010) and Treitler (1980).