Os Aspectos Poético-Musicais Nas Obras De Homero: Métrica, Ritmo E Performance (Séc

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Os Aspectos Poético-Musicais Nas Obras De Homero: Métrica, Ritmo E Performance (Séc UNIVERSIDADE FEDERAL DE GOIÁS FACULDADE DE HISTÓRIA PROGRAMA DE PÓS GRADUAÇÃO EM HISTÓRIA MESTRADO MARCELO MIGUEL DE SOUZA Os aspectos poético-musicais nas obras de Homero: métrica, ritmo e performance (Séc. VIII a. C.). Julho de 2012 UNIVERSIDADE FEDERAL DE GOIÁS FACULDADE DE HISTÓRIA PROGRAMA DE PÓS GRADUAÇÃO EM HISTÓRIA MESTRADO MARCELO MIGUEL DE SOUZA Os aspectos poético-musicais nas obras de Homero: métrica, ritmo e performance (Séc. VIII a. C.). Texto de Dissertação apresentado ao Programa de Pós Graduação em História da Universidade Federal de Goiás como requisito para obtenção do grau de Mestre em História. Área de Concentração: Culturas, Fronteiras e Identidades. Linha de Pesquisa: História, Memória e Imaginários Sociais. Orientadora: Profª. Drª. Ana Teresa Marques Gonçalves. Julho de 2012 Dados Internacionais de Catalogação na Publicação (CIP) GPT/BC/UFG/mr Souza, Marcelo Miguel. S729a Os aspectos poético-musicais nas obras de Homero [manuscrito]: métrica, ritmo e performance (Séc. VIII a.C) / Marcelo Miguel de Souza. - 2012. 184 f. Orientadora: Profª. Drª. Ana Teresa Marques Gonçalves. Dissertação (Mestrado) – Universidade Federal de Goiás, Faculdade de História, 2012. Bibliografia. 1. Homero – Análise – Poesia e Música. 2. Epopeia. 3. Homero. 4. Música. 5. Performance . I. Título. CDU: 821.14’02:78 MARCELO MIGUEL DE SOUZA Os aspectos poético-musicais nas obras de Homero: métrica, ritmo e performance (Séc. VIII a. C.). Dissertação defendida no curso de Mestrado em História na Universidade Federal de Goiás, para obtenção do grau de Mestre, aprovada em __/__/ 2012, pela Banca Examinadora constituída pelos seguintes professores: __________________________________________________________ Professora Doutora Ana Teresa Marques Gonçalves – UFG Presidente __________________________________________________________ Professor Doutor Fábio Vergara Cerqueira – UFPEL Membro __________________________________________________________ Professora Doutor Gilberto Cezar de Noronha – UFG Membro __________________________________________________________ Professora Doutora Luciane Munhoz de Omena – UFG Suplente Agradecimentos Gostaria de agradecer, nestas breves linhas, as pessoas que de uma forma ou de outra contribuíram para a conclusão deste trabalho. Horas a fio foram aqui depositadas e, sem sua compreensão e apoio, talvez nunca tivessem sido escritas. Agradeço a minha Orientadora Profª. Drª. Ana Teresa Marques Gonçalves que desde os primeiros momentos acreditou na viabilidade deste trabalho, acolhendo sempre atenta as minhas objeções (que não foram poucas) e formulações, procurando livros e lendo minuciosamente as primeiras laudas desta Dissertação. Este trabalho é em grande parte fruto de seu esforço e dedicação, e realmente não seria viável sem a sua presença. Agradeço também ao Profº. Dr. Fábio Vergara Cerqueira que muito gentilmente aceitou participar da Banca composta para avaliar este trabalho. Suas críticas e apontamentos, além da leitura de seus escritos e artigos foram sempre inspiradores. Devo registrar que é sempre muito bom perceber que não se está sozinho quando se dedica a um tema tão espinhoso como à música na Antiguidade. Meus sinceros agradecimentos também devem ser direcionados ao Profº. Dr. Gilberto Cezar de Noronha, que muito gentilmente aceitou ler e fazer apontamentos sobre os primeiros escritos desta Dissertação. Suas observações foram de muita ajuda, e contribuíram de forma contundente a este trabalho. Meu franco reconhecimento do mesmo modo é direcionado a Profª. Drª. Luciane Munhoz de Omena que, com seu jeito sempre afável, nos acompanhou ao longo de todo este trabalho, desde a especialização em história até esta defesa de Mestrado. Pessoa que aprendi a respeitar e admirar. Devo mencionar também as contribuições dos professores deste departamento de pós-graduação em história, principalmente a Profª. Drª Cristina de Cássia e a Profª. Drª Armênia, que muito me ajudaram durante os anos na pós-graduação. São pessoas que sempre se mostraram abertas ao diálogo e ao convívio. Não poderia deixar de citar ao mesmo tempo os companheiros de caminhada, nesta que foi para mim uma árdua jornada. Agradecimentos aos colegas Thiago, Samuel, Thatielly, Raul, Edson, Rodrigo, Cleuza, Joyce e a todos os outros que não cito diretamente por já não possuir a mesma memória de quando tinha dezoito anos. Obrigado. Devo agradecer também aquela que foi minha companheira nesta caminhada, e que ao longo de já alguns anos têm escutado minha inesgotável ladainha acerca da música, dos músicos e da Antiguidade: Sheilla Martins Rosa. Ela é responsável em grande parte pelo término deste trabalho. A ela todo o meu amor e atenção. A todos meus sinceros agradecimentos. Resumo Propomos com esta Dissertação revisitar as obras de Homero tendo em vista aspectos de sua composição poética que remetem aos elementos de performance , bem como a sociedade oral em que os mesmos foram concebidos. Partimos de um ponto de vista que dialogue com a musicologia e relacione as técnicas de composição e improvisação do aedo. Temos por meta problematizar as relações dessas técnicas de composição em performance com o texto que possuímos contemporaneamente. Apontando traços de sua construção, de sua forma, de seu estilo, procuramos compreender melhor essas interações na constituição poético-musical dos poemas. Palavras-Chave: Antiguidade Grega; Epopéia; Homero; Música; Performance . Abstract We propose to revisit the works of Homer in view of his poetic composition features that refer to elements of performance, as well as oral society in which they were created. We start from a point of view which dialogues with musicology and connects the techniques of composition and improvisation of the bard. We aim to discuss the relationship of these techniques of composition in performance with the text that we have nowadays. Pointing traces of its construction, of its form and its style, we try to understand these interactions in poetic-musical formation of the poems. Key-Words: Greek Antiquity; Epic, Homer, Music, Performance A meus pais que da melhor forma possível contribuíram para a realização deste momento, dedico este trabalho. Sumário Agradecimentos ............................................................................................................03 Resumo ...........................................................................................................................05 Abstract ..........................................................................................................................06 Prefácio .................................................................................................................. ........09 Capítulo I – Da concepção musical grega às obras de Homero como documentos musicais ...........................................................................................................................36 1.1 – Das concepções musicais: pensando a Mousiké grega ..........................................36 1.2 – Entre música e poesia: pensando um Homero musical......................................... 49 1.3 – A problemática da documentação: da composição à transcrição...........................56 1.4 – A problemática da documentação: da transcrição à edição....................................62 1.5 – Dialogando com os tipos musicais gregos..............................................................68 Capítulo II – Aspectos musicais ligados à Forma, ao Estilo e à Performance ..........77 2.1 – Instrumentos musicais gregos e a documentação...................................................78 2.2 – O papel do aedo na sociedade homérica.................................................................93 2.3 – Dos aspectos formais das obras de Homero.........................................................103 2.3.1 – Métrica, ritmo, elementos agregados e suas funções.............................109 Capítulo III – Aspectos musicais ligados ao sentido e seus desdobramentos na Ilíada e na Odisséia ......................................................................................................119 3.1 – Aspectos formais na construção do sentido..........................................................120 3.2 – Temporalidades comprimidas dentro da poética-musical: diferentes variações de representação sobre a localização do Hades homérico..................................................125 3.2.1 – Concepções religiosas e temporalidades: o mundo dos mortos e o panteão helênico................................................................................................126 3.2.2 – Espacialidades e referências no mundo dos mortos: o Hades como lugar e como Deus.............................................................................................130 3.2.3 – O caso de Elpenor e a Nekuia ................................................................139 3.3 - O aedo em sua performance ..................................................................................145 3.3.1 Performance e técnicas narrativas na Ilíada e Odisséia : As figuras do aedo e do adivinho como flexão do tempo narrativo...............................................159 3.4 – Os aedos e a constituição da “glória dos heróis”..................................................164 Considerações finais ....................................................................................................171 Referências Bibliográficas ..........................................................................................175 Prefácio A idéia de
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