De John Zorn: Reflexões Sobre Sua História E Prática

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De John Zorn: Reflexões Sobre Sua História E Prática UNIVERSIDADE FEDERAL DE MINAS GERAIS ESCOLA DE MÚSICA FELIPE JOSÉ OLIVEIRA ABREU O JOGO MUSICAL COBRA (1984) DE JOHN ZORN: REFLEXÕES SOBRE SUA HISTÓRIA E PRÁTICA BELO HORIZONTE 2013 FELIPE JOSÉ OLIVEIRA ABREU O JOGO MUSICAL COBRA (1984) DE JOHN ZORN: REFLEXÕES SOBRE SUA HISTÓRIA E PRÁTICA Dissertação apresentada ao Programa de Pós-Graduação em Música da Universidade Federal de Minas Gerais, como requisito parcial para obtenção do título de Mestre em Música. Linha de pesquisa: Processos Analíticos e Criativos Orientador: Prof. Dr. Sérgio Freire Garcia BELO HORIZONTE 2013 A162j Abreu, Felipe José Oliveira O jogo musical Cobra (1964) de John Zorn [manuscrito]: reflexões sobre sua história e prática / Felipe José Oliveira Abreu. – 2013. 137 f., enc.; il. Orientador: Sérgio Freire Garcia. Linha de pesquisa: Processos analíticos e criativos. Dissertação (mestrado) – Universidade Federal de Minas Gerais, Escola de Música. Inclui bibliografia. 1. Música - Teses. 2. Jogos musicados. 3. Jogos eletrônicos. 4. Improvisação (Música). 5. Composição (Música). I. Garcia, Sérgio Freire. II. Universidade Federal de Minas Gerais. Escola de Música. III. Título. CDD: 789.96 Para Frederico Grassano (in memoriam), Sara Pozzato e Itiberê Zwarg, pessoas que, cada um a seu próprio modo, muito me incentivaram a pisar com meus próprios pés o infinito caminho da Música. AGRADECIMENTOS Aos meus pais, José Rober e Maria de Lourdes, que me ensinaram não apenas a acreditar, mas também – e na hora certa – a duvidar. Aos irmãos de sangue Roberta e Tiago, por nunca duvidarem da minha ‘musa’ música. À querida Sara, pelo amor, incentivo, apoio e sinceridade. À Lídia, amor em pessoa, pelo questionamento puro do que é música... Aos irmãos de som Rafael Nassif, Daniel Pantoja, Rafael Martini, Lucas Batista, Trigo Santana, Romeu Rabelo, Maria Clara Valle, Bruno Menegatti, Daniel Moraes, Edson Fernando, Pablo Passini, Ricardo Passos, Leandro César, Euler Alves, Gustavo Amaral e Felipe Andrade, pelos momentos compartilhados de sufoco, aprendizado e diversão! Ao Coletivo Distante e a todos os músicos que participaram comigo da aventura de realizar esse jogo-música, verdadeiros arautos do som! Ao Programa de Pós-Graduação em Música da UFMG, aos professores e colegas com os quais compartilhei a rotina acadêmica. À CAPES pela bolsa de estudos que muito me ajudou. Ao professor Fernando Rocha, pelo grande apoio com o lado prático da pesquisa, pelo incentivo em fazer o jogo acontecer. Ao professor Marco Scarassatti, peça fundamental para a articulação e consolidação do Coletivo Distante e desta pesquisa, quem gentilmente nos convidou a ocupar semanalmente o Centro Cultural UFMG. Gracias! E finalmente ao querido professor e orientador Sérgio Freire Garcia, pelo respeito, paciência, disponibilidade, clareza e sobretudo, pela confiança. Meu Muito Obrigado!!! Através de sua música, os músicos são os arautos da consciência mundial e planetária. Não há necessidade de os músicos falarem a mesma língua. Eles podem tocar juntos sem falar. Eles apenas precisam ouvirem-se uns aos outros, dando e recebendo som. Seus encontros com diferentes afinações e estilos podem ser negociações para a reconciliação das diferenças. Pauline Oliveros RESUMO O objetivo principal desta pesquisa é descrever o funcionamento e o processo de aprendizagem do jogo musical Cobra, de John Zorn, uma composição experimental e aberta que utiliza processos de livre improvisação, finalizada em 1984. Através da realização de duas montagens práticas ao longo de dois anos, nos apropriamos desta obra sob diferentes enfoques, abarcando seu potencial improvisatório, composicional e performático. No jogo, placas e sinais entre os músicos são utilizados para articular uma série de modos de improvisação, cada qual com suas próprias regras. Surgindo das interações/relações entre os músicos, cada versão do jogo é única, podendo ter qualquer duração/instrumentação e sendo sempre uma criação coletiva. A dissertação descreve criticamente esse aprendizado, incluindo uma breve abordagem histórica da improvisação (capítulo 1) e da trajetória composicional de Zorn e seus game pieces (capítulo 2), seguida de uma descrição detalhada do jogo Cobra e de reflexões suscitadas em sua montagem. Palavras-chave: Livre improvisação, Composição, game pieces, Obra Aberta, John Zorn, Cobra. ABSTRACT The main goal of this research is to describe the operation and the learning process of the game piece Cobra, an experimental and open composition using free improvisation, developed by John Zorn in 1984. By conducting two practical assemblies in the course of two years, I’ve got into the piece under different approaches, encompassing its improvisational, compositional and performatic potentials. The game uses cards and signs among the musicians to articulate series of improvisational systems, each one with its own rules. Emerging from interactions/relationships between musicians, each version of the game is unique and can have any length or instrumentation, always being a collective creation. The dissertation describes this learning process critically, including a brief historical approach of improvisation (chapter 1) and of Zorn’s compositional trajectory and his game pieces (chapter 2), followed by a detailed description of the piece Cobra and by reflexions raised by its practical assembly. KeyWords: Free improvisation, Composition, Game Pieces, Open Work, John Zorn, Cobra. SUMÁRIO INTRODUÇÃO ............................................................................................................ 8 1 – Em torno da Livre Improvisação Musical ........................................................ 10 1.1 – Considerações Iniciais ............................................................................... 10 1.2 – Improvisação / Composição: Interpretações ........................................... 14 1.3 – Pós-Guerra ................................................................................................... 25 1.4 - Grupos e Propostas ..................................................................................... 42 Excurso (sobre o texto Reacting, de Vinko Globokar) ..................................... 51 2 – John Zorn e os Game Pieces ............................................................................ 56 2.1 – John Zorn ..................................................................................................... 56 2.2 – IMAGENS – MEDIA – RUÍDO – BLOCOS ................................................... 60 2.3 – Game Pieces ................................................................................................ 64 3 – O Jogo ‘Musical’ Cobra (1984) ......................................................................... 69 3.1 – Histórico ....................................................................................................... 69 3.2 – Regras e funcionamento do Jogo ............................................................. 76 3.3 – Reflexões ..................................................................................................... 92 CONSIDERAÇÕES FINAIS .................................................................................... 114 REFERÊNCIAS ....................................................................................................... 124 ANEXO: Cobra Notes, de Stephen Drury ............................................................ 133 8 INTRODUÇÃO A ideia de pesquisar improvisação livre veio do desenrolar dos meus interesses pessoais enquanto músico prático há mais de dezesseis anos. O desejo de praticar a improvisação coletivamente surgiu do contato gradual com a música de John Zorn (1953), a qual venho acompanhando desde 2005. John Zorn é um compositor, improvisador e produtor musical natural da cidade de Nova York, local onde desenvolveu, ao longo das últimas décadas, algumas abordagens bastante singulares no uso de improvisação composicionalmente estruturada. A diversidade de propostas e a ‘liberdade’ com que esse músico trata os mais diversos estratos do fazer musical, desde o primeiro contato, causou em mim grande fascinação. Inicialmente, conheci seu projeto pessoal de revitalização da música klezmer1. Posteriormente, tive contato com suas trilhas para cinema e música de concerto (quartetos de cordas, música orquestral e de câmara), suas composições em afinidade com o grindcore, hardcore, free jazz e world music, um pouco de música eletrônica, surf music e suas obras com temáticas místicas e ocultas. A princípio, não parecia fazer sentido que um único compositor cobrisse todo esse amplo leque de gêneros, de práticas musicais e mesmo de ‘afetos’, mudando ‘de música’ como se mudam os canais de uma televisão, como um camaleão troca de cor. Ao longo do tempo, fui descobrindo que a improvisação, enquanto prática, era de certa forma o ponto de conexão entre tudo isso. Em um determinado momento, percebi que, na primeira fase de sua carreira, Zorn ocupou-se da criação de cerca de vinte e cinco ‘jogos musicais’, os game pieces. Aos poucos fui descobrindo-os através da escuta, interessando-me cada vez mais por seu funcionamento. Quanto mais ouvia, mais fazia sentido que era daí que vinha toda aquela fluidez e liberdade que havia me contagiado desde o início. Uma vez dentro do programa de mestrado da Escola de Música da Universidade Federal de Minas Gerais (UFMG), não foi difícil encontrar pessoas interessadas e dispostas a jogar esse jogo musical. Ao longo do primeiro semestre de 2012, cerca de 15 alunos de diferentes cursos da escola frequentaram
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