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Adorno E Harnoncourt: Dois Momentos Da Consciência Da Música Histórica No Século XX, Rainer Patriota

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Adorno E Harnoncourt: Dois Momentos Da Consciência Da Música Histórica No Século XX, Rainer Patriota anais da iv semana de música antiGa da universidade Federal de minas Gerais bizzarie alegórica Iara Fricke Matte Maria Cecília de Miranda N. Coelho (organizadoras) Belo Horizonte Faculdade de FilosoFia e ciências Humanas e escola de música universidade Federal de minas Gerais 2014 Anais da IV Semana de Música Antiga da Universidade Federal de Minas Gerais - bizzarie alegórica Iara Fricke Matte Maria Cecília de Miranda N. Coelho (organizadoras) Belo Horizonte Faculdade de Filosofa e Ciências Humanas e Escola de Música Universidade Federal de Minas Gerais 2014 2 Índice Apresentação Iara Fricke Matte Maria Cecília de Miranda N. Coelho Ressonâncias estéticas 1. Herança das musas: a prática de música antiga como possibilidade de um museu de música, Aline Azevedo ........................................................................................................................................................................................ 10 2. Adorno e Harnoncourt: dois momentos da consciência da música histórica no século XX, Rainer Patriota ................................................................................................................................................................................. 19 3. Conceito de indeterminação e o repertório para alaúde barroco: considerações interpretativas e flosófcas, Renato de Carvalho Cardoso............................................................................................................................................................ 30 4. A escrita non mesuré nas obras para cravo de Cláudio Santoro, Carlo Vinícius Rosa Arruda ........................ 41 5. Cravo em Kit e a contracultura, Patricia Gatti .................................................................................................................. 50 Retórica, gestos e afeto 6. Alegoria da paixão na festa de domingo de Ramos, análise retórica em André da Silva Gomes, Ronaldo Novaes e Diósnio Machado Neto ............................................................................................................................................................................ 60 7. A Retórica no ambiente musical luso-brasileiro, Ozório Bimbato P. Christovam, e Diósnio Machado Neto ...................................................................................................................................................................................... 66 8. A retórica dos afetos: uma análise lítero-musical da cantata Arianna, de Alessandro Scarlatti, Robson Bessa Costa e Raoni Rajão ...................................................................................................................................................................................... 78 9. A busca pela representação dos afetos nas primeiras fontes do baixo contínuo, Gustavo Angelo Dias Helena Jank ...................................................................................................................................................................................................................... 87 10. Ópera Francesa, “Querelle des Bouffons” e Iluminismo, Rodrigo Lopes .......................................................................... 94 11. Dança, etiqueta e distinção social em Espanha (séculos XVI e XVII) — leitura do tratado Discursos sobre el arte del dançado (1642), de Juan de Esquivel Navarro, Clara Couto ............................................................................................... 101 Para além da notação: interpretação de Música Antiga 12. A importância dos Graus da Música (Modo, Tempo e Prolação) e do tactus para transcrições em notação moderna, Nathalia Domingos ................................................................................................................................................................. 111 13. Prolongamentos silábicos e acentos da língua francesa: características presentes na obra de François Couperin, Beatriz Pavan ............................................................................................................................................................................ 120 14. O códice Franciscano: estudo de caso sobre a recepção da teoria musical no Brasil Colonial, Mítia D’Acol e Diósnio Machado Neto .............................................................................................................................................................................. 129 Anais da IV Semana de Música Antiga da UFMG - bizzarie alegórica. Belo Horizonte, v. 1, 2014, ISBN: 978-85-62707-58-2. 6 7 Machado Neto, FFCLRP/USP), A Retórica no ambiente musical luso-brasileiro (Ozório Bimbato P. Christovam, ECA/ Apresentação USP, e Diósnio Machado Neto, FFCLRP/USP), A retórica dos afetos: uma análise lítero-musical da cantata Arianna, de Alessandro Scarlatti (Robson Bessa Costa, Letras/UFMG, e Raoni Rajão, Engenharia/UFMG), Giulio Caccini e a busca pela representação dos afetos nas primeiras fontes do baixo contínuo (Gustavo Angelo Dias, Música/UNICAMP, É com alegria que apresentamos e disponibilizamos ao público os anais, contendo os artigos relativos às e Helena Jank, Música/UNICAMP), Ópera Francesa, “Querelle des Bouffons” e Iluminismo, Rodrigo Lopes, Música/ comunicações que foram feitas por pesquisadores durante a IV Semana de Música Antiga da UFMG. UNESP), Dança, etiqueta e distinção social em Espanha (séculos XVI e XVII) – leitura do tratado Discursos sobre el arte del dançado (1642), de Juan de Esquivel Navarro (Clara Couto, História/USP). O terceiro grupo de artigos, cujo Entre 20 e 29 de setembro de 2013, em meio aos concertos, às palestras, aos minicursos, às ofcinas e aos tema é Para além da notação: interpretação de Música Antiga, reúne os seguintes textos: A importância dos Graus cursos de instrumentos e canto, tivemos um conjunto expressivo de comunicações de pesquisadores que, com seu da Música (Modo, Tempo e Prolação) e do tactus para transcrições em notação moderna (Nathalia Domingos, Música/ trabalho teórico, analisaram e discutiram questões históricas e temáticas sobre a música antiga, bem como sua recepção USP), Prolongamentos silábicos e acentos da língua francesa: características presentes na obra de François Couperin posterior, em especial sobre o tema da bizzarie alegórica, conceito-chave que norteou as atividades dessa IV Semana, ao (Beatriz Pavan, Música/UNICAMP) e O códice Franciscano: estudo de caso sobre a recepção da teoria musical no Brasil lado de outros como os de alegoria, mimesis, stravaganza, bizzarie, meraviglia, maneirismo e agudeza de artifício. Colonial, (Mítia D’Acol, ECA/USP, e Diósnio Machado Neto, FFCLRP/USP). Do mesmo modo como destacamos antes — e isso foi para nós de grande alegria e vitória! —, na Não podemos encerrar esta apresentação sem os devidos agradecimentos aos que contribuíram para apresentação geral da IV Semana, na qual mantivemos o compromisso, assumido em 2007, de proporcionar, levar a termo este projeto. Em primeiro lugar, agradecemos a todos que submeteram seus trabalhos à Comissão gratuitamente, performances musicais historicamente embasadas e de promover o intercâmbio entre músicos Organizadora e, posteriormente, aos que revisaram, considerando os comentários e debates ocorridos, para que e intérpretes, pesquisa e prática, escolas de música e comunidade, ensino e extensão, destacamos, agora, nossa fossem publicados aqui. Agradecemos aos membros da Comissão Científca, pela primeira avaliação dos textos satisfação de disponibilizar o acesso de todos aos textos apresentados nas comunicações. submetidos: Adma Muhana (USP), Alcir Pécora (UNICAMP), Cassiano Barros (UNESP), Luiz Fiaminghi (UDESC), Marcos Holler (UDESC), Margarida Miranda (Universidade de Coimbra), Mary Angela Biason (UNICAMP), Mônica Motivo de alegria foi também o de termos recebido, por parte dos palestrantes e do público, palavras Lucas (USP), Sérgio Alcides (UFMG) e Silvana Scarinci (UFPR). Por fm, agradecemos aos moderadores das mesas de de apoio, incentivo e louvor por fazermos algo que não é comum nos encontros sobre música antiga, a saber, a comunicação — Edite Rocha (INET-md/Universidade de Aveiro, Portugal e Música/UFMG), Cecília Nazaré de Lima união de apresentações, concertos e ofcinas ao estudo e à análise da produção e da performance musical. Se, em (Música/UFMG) e Fausto Borém (Música/UFMG) —, e, em especial, ao público presente, por estimularem o debate parte, essa singularidade que marca a Semana de Música Antiga da UFMG é consequência de ela ser produzida e colaborarem com suas observações, críticas e sugestões. dentro e com membros da academia, ela não é, porém, algo habitual, seja no Brasil ou no exterior. Sendo nosso intuito — como já dissemos em outro momento — o de difundir a arte e o conhecimento e formar plateias, a Assim, resta-nos, agora, apenas desejar a todos e a todas uma agradável e estimulante leitura. interação entre as abordagens acadêmica, artística e cultural, sob um enfoque estético, educativo e de apreciação musical, é importantíssima para nós — daí essa iniciativa. Destarte, eis justifcado o valor desta publicação, cujo suporte permite amplo e democrático acesso. Nela conservamos a estrutura e os títulos das apresentações feitas nas mesas de comunicações, distribuídas em três conjuntos de artigos. O primeiro, intitulado Ressonâncias estéticas, reúne cinco textos: Herança das musas: a prática de música antiga como possibilidade de um museu de música (Aline Azevedo, Música/UFMG), Adorno e Harnoncourt: dois momentos da consciência da música
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