Música e interfaces

Abstract

As much as postmodern thinking turns against the separation and isolation of the different areas of human knowledge, and which were inherited (separation and isolation) from Cartesian thought, we must admit that the establishment of zones of adherence, of relations or, in other words, of interfaces between the different fields of knowledge is still a challenge for many of us, researchers trained in a multidisciplinary tradition. Music and the researchers who discuss it sometimes close themselves off in the specialization and hermeticism of their debates, not allowing themselves to see, in fact, a reality that can hardly go unnoticed: music is not a phenomenon that manifests itself isolated in the world. Although we all know this, it never hurts to remember that the integration of points of view, or knowledge, is necessary for us to approach a less naive understanding of the reality that we were willing to study. Music, like a prism of countless faces, has a “nucleus” where we could place the most specific discussions in the area, but which is surrounded by a multifaceted surface, which relates to the outside, makes contacts, establishes relationships with other areas of knowledge. For this reason, it is necessary to talk about musical “inter-faces” or, in other words, about the relationships that this prism, which composes musical knowledge, establishes with the other areas of knowledge by placing their infinite “faces” in “interrelation” ”With its surroundings. This collection of texts, according to my reading, presents us with the “hard core” of this multifaceted prism that corresponds to musical knowledge, but also presenting some of the countless faces and relationships that this object can establish with its surroundings. . The first section of this book, dedicated to “Interpretative practices”, contains a set of texts that reflect on the construction of musical performance. In “Allaudistic resources to the guitar: a case study for the performance of JS Bach's Fugue BWV 997”, Vitor de Souza Leite discusses the appropriation, in the performance of a piece by Johann Sebastian Bach to the guitar, of elements of the auditory execution rescued 18th century treatise Theoretisch und Practische Untersuchung des Instruments der Lauten, by Ernest Baron. The guitarist interpretation is also the object of study by Ricardo César dos Santos Castilho Filho and Luciano Hercílio Alves Souto, in “Technical-idiomatic resources of the Baroque repertoire for strings plucked in guitar transcriptions: a critical-reflexive study of the medium change procedures instrumental and notational ”. In this article, the authors discuss the problem 8 involved in the transcription and modern execution, on the guitar, of ancient notations originally produced for strummed string instruments such as vihuelas, guitars and lutes from the Baroque period. A similar theme is addressed by Luciano Hercílio Alves Souto, in “The English guitar and the wire viola in the 18th century: notational, technical-idiomatic approaches and transcription of excerpts from Musical Example No. II, extracted from The Art of Playing the Guitar or Cittra (1760) by Francesco Geminiani ”.The authors, in this work, present characteristics of African rhythm, relating this, then, to the rhythm of Brazilian music. Brazilian music is also the focus of the analysis proposed by Íngrid Lívero, in “The discourse in the arrangements and melody of songs by the Engineers of Hawaii: tracing a musical process of subjectification”. In this article, after a brief historical exhibition on Brazilian rock, consolidated from the 1980s, the author starts from the concept of parrhesia, proposed by Michel Foucault, to analyze the discursive practices that permeate the music “Toda forma de poder”, by Hawaii engineers. The article section entitled “Cognition, training and music education” presents works that provide theoretical foundations in the fields of cognition and / or music education, in addition to reports of pedagogical experiences in the area of ​​music that can contribute to teacher training.