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O Canto Overtone Em Tuva – Um Panorama

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UNIVERSIDADE FEDERAL DE UBERLÂNDIA INSTITUTO DE ARTES CURSO DE PÓS-GRADUAÇÃO EM MÚSICA (PPGMU) O CANTO OVERTONE EM TUVA – UM PANORAMA Uberlândia 2020 ANA CAROLINA RODRIGUES DE MORAES O CANTO OVERTONE EM TUVA - UM PANORAMA Dissertação apresentada ao Programa de Pós-graduação em Música – Mestrado Acadêmico – do Instituto de Artes da Universidade Federal de Uberlândia como requisito para a obtenção do título de Mestre em Música. Área de concentração: Música, linha de pesquisa I: Processos analíticos, criativos, interpretativos e historiográficos em música. Orientador: Prof. Dr. Celso Luiz de Araujo Cintra. Uberlândia 2020 Dados Internacionais de Catalogação na Publicação (CIP) Sistema de Bibliotecas da UFU, MG, Brasil. M827c Moraes, Ana Carolina Rodrigues de, 1993- 2020 O Canto Overtone em Tuva [recurso eletrônico] : um panorama / Ana Carolina Rodrigues de Moraes. - 2020. Orientador: Celso Luiz de Araujo Cintra. Dissertação (mestrado) - Universidade Federal de Uberlândia, Programa de Pós-Graduação em Artes. Modo de acesso: Internet. Disponível em: http://doi.org/10.14393/ufu.di.2021.6002 Inclui bibliografia. Inclui ilustrações. 1. Arte. 2. Música. 3. Canto. I. Cintra, Celso Luiz de Araujo, 1969-, (Orient.). II. Universidade Federal de Uberlândia. Programa de Pós- Graduação em Artes. III. Título. CDU: 7 Rejâne Maria da Silva – CRB6/1925 SEIUFU - 2345740 - Ata de Defesa - Pós-Graduação.pdf Salvo no Dropbox • 6 de nov. de 2020 18:37 UNIVERSIDADEUNIVERSIDADE FEDERAL DE UBERLÂNDIA Coordenação do Programa de Pós-Graduação em Música Av. João Naves de Ávila, 2121, Bloco 1V, Sala 5 - Bairro Santa Mônica, Uberlândia-MG, CEP 38400-902 Telefone: (34)(34) 3239-4522 - www.ppgmu.iarte.ufu.br - [email protected] ATA DE DEFESA - PÓS-GRADUAÇÃO ProgramaPrograma dede PósPós-- MúsicaMúMúsicasica GraduaçãoGraduação em: DefesaDefesa de: DissertaçãoDissertação dede MestradoMestrado Acadêmico Data:Data: 2626 dede outubrooutubro de 2020 HoraHora de início: 14:4014:40 Hora de encerramento: 17:15 MatrículaMatrícula do Discente: 11822MUS00111822MUS001 NomeNome do Discente: AnaAna CarolinaCarolina RodriguesRodrigues dede MoraesMoraes TítuloTítulo do Trabalho: OO cantocanto overtoneovertone emem Tuva:Tuva: umum panoramapanorama ÁreaÁrea de concentração: MúsicaMúsica LinhaLinha de pesquisa: ProcessosProcessos analíticos,analíticos, criativos,criativos, interpretativosinterpretativos ee historiográficoshistoriográficos emem música ProjetoProjeto dede PesquisaPesquisa dede AA musicologiammusicologiausicologia comparadacomparada dede AlainAlain Daniélou:Daniélou: contribuiçõescontribuições parapara umum diálogodiálogo musical vinculação:vinculação: Reuniu-se via web conferência,conferência, a Banca Examinadora, designada pelo Colegiado do Programa de Pós-graduação em Música, assim composta: Professores(as) Doutores(as): Paulo José dede SiqueiraSiqueira Tiné (IA-UNICAMP), Jaqueline Soares Marques (IARTE-UFU), Celso Luiz de Araujo Cintra (IARTE(IARTE-UFU), orientador(a) do(a) candidato(a). Iniciando os trabalhos o(a) presidente da mesa, Dr(a). Celso Luiz de Araujo Cintra, apresentou a Comissão ExaminadoraEExamxaminadorainadora e o cacandidato(a),ndidato(a), agradeceu a presença do público, e concedeu ao DisDiscentecente a palavra para a exposição do seu trabalho. A duração da apresentação do Discente e o tempo de arguição e resposta foram conforme as normas do Programa. A seguir o senhor(a)senhosenhor(ar(a)) presidente concedeu a palavra, pela ordem sucessivamente, aos(às) examinadorexaminadores(as),es(as), que passaram a arguiarguirr o(a) candidatocandidato(a)candidato(a).(a).. Ultimada a arguição, que se desenvolveu dentro dos termos regimentais, a Banca, em sessão secreta, atribuiu o resultado finalfinal,, considerandoconsiderando o(a) candidato(a): Aprovado(a). Esta defesa faz parte dos requisirequisitostos necessários à obtenção do título de Mestre. O competentecompetente diplomadiploma será será expedido expedido após após cumprimento cumprimento dos dosdemais demais requisitos, requisitos, conforme conforme as normas as normas do Programa, do Programa, a legislação a legislação pertinente perti e anentene nte e a regulamentação interna da UFU. Nada maismamaisis havendohavendo a a tratar tratar foram foram encerrados encerrados os ostrabalhos. trabalhos. Foi Foi lavrada lavrada a presente a presente ata que ata apósque lidaapós e lidaachada e achada conforme conforme foi assi foinada assiassinada pelanada Banca pepelala Banca Examinadora. Documento assinado eletronicamente por Celso Luiz de Araujo Cintra, Presidente, em 26/10/2020, às 21:15,21:21:15,15, conconformeforme horário oficial de Brasília, com fundamento no art. 6º, § 1º, do Decreto nº 8.539, de 8 de outubro de 2015. Documento assinado eletronicamente por Jaqueline Soares Marques, Usuário Externo, em 28/10/2020, às 21:22, conformeconforme horário oficial dede Brasília, com fundamento no art. 6º, § 1º, do DecretoDe creto nº 8.539,8 .539, dede 88 dede ooutubro u tubro dede 201201520155. Documento assinado eletronicamenteeletronicamente por Paulo José de Siqueira Tiné, Usuário Externo, em 05/11/2020, às 15:16,15:16, conforme horário oficial de Brasília,Brasília, com fundamento no art. 6º, § 1º, do Decreto nº 8.539, de 8 de outubro de 2015. A autenticidade deste documento pode ser conferida no sitesite https://https://wtps://www.sei.ufu.br/sei/controlador_externo.php?tps://www.sei.ufu.br/sei/controlador_www.sei.ufu.br/sei/controlador_externo.php?ww.sei.ufu.br/sei/controlador_externo.php?externo.php? acao=documento_conferir&id_oracao=documento_conferir&id_orgao_acesso_externo=0gao_acesso_externo=0, informando o código verificador 2345740 e o código CRC 5BB67358. Referência: ProcessoProcesso nº 23117.063996/2020-12 SEI nº 2345740 Dedicatória Dedico esta pesquisa aos mestres espíritos de Tuva, que encontraram meios para me inspirar a contar suas histórias e propagar alguns de seus mistérios e formas de cantar tão únicas no mundo. Que a arte e os dons deles possam alçançar e inspirar outros assim como me inspirou. Agradecimentos Agradeço ao meu orientador Celso Cintra por todo o carinho, paciência e incentivo durante o processo de desenvolvimento desta dissertação. À FAPEMIG pela bolsa de estudos. À minha mãe Viviane por sempre tirar minhas dúvidas e me auxiliar com os aspectos técnicos desta pesquisa. Ao meu marido Pedro Paulo por ser minha luz e meu maior encorajador, sempre me ajudando nos momentos mais difíceis e nunca me deixando desistir. À minha gatinha Docinho pela companhia fiel, pelas lambidas, carinhos e eventuais passeios e sonecas no teclado em todas as tardes intermináveis de escrita. RESUMO Neste trabalho investigamos o canto overtone em Tuva, fazendo um breve panorama através de uma descrição histórica, social, religiosa e musical, objetivando contextualizar como tal canto veio a ser, seus alicerces. Posteriormente focamos nas técnicas vocais utilizadas nos mesmos. Tais técnicas são descritas minuciosamente com a ajuda de figuras e descrições anatômicas e fisiológicas que propiciam uma maior compreensão do processo fonatório envolvido na produção das sonoridades características do canto overtone praticado em Tuva. Palavras Chave: Música; canto; técnica vocal; canto overtone; música oriental; Tuva; ABSTRACT In this work we investigate the overtone singing in Tuva, making a brief overview through a historical, social, religious and musical description, aiming to contextualize how such singing came to be, its foundations and later focusing on the vocal techniques used in them. Such techniques are described thoroughly with the aid of figures, anatomical and physiological descriptions that provides a better understanding of the phonatory process involved in the production of the characteristic sounds of the overtone singing practiced in Tuva. Keywords: Music; singing; vocal technique; overtone singing; oriental music; Tuva; SUMÁRIO RESUMO ............................................................................................................................................... 5 INTRODUÇÃO ..................................................................................................................................... 7 I. CONTEXTUALIZAÇÕES & DEFINIÇÕES DO OVERTONE ..................................................... 12 I.1- CONTEXTUALIZANDO...................................................................................................................................................... 12 I.2- O CANTO OVERTONE .............................................................................................................................................. 18 I.3- O CANTO OVERTONE NO OCIDENTE .................................................................................................................. 29 I.4- A VOZ FEMININA NO OVERTONE ........................................................................................................................ 35 I.5- OS CANTORES DE OVERTONE EM TUVA .......................................................................................................... 38 II. TUVA .............................................................................................................................................. 43 II.1- CARACTERÍSTICAS GEOGRÁFICAS ................................................................................................................. 44 II.2- CARACTERÍSTICAS HISTÓRICAS & SOCIAIS ................................................................. 47 II.3- CARACTERÍSTICAS RELIGIOSAS .....................................................................................
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