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Individualidade E Coletividade Na Improvisação

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Individualidade E Coletividade Na Improvisação UNIVERSIDADE FEDERAL DE JUIZ DE FORA INSTITUTO DE ARTES E DESIGN MESTRADO EM ARTES, CULTURA E LINGUAGENS Rafael Gonçalves INDIVIDUALIDADE, NARRATIVIDADE E INTERAÇÃO EM MÚSICA POPULAR IMPROVISADA Juiz de Fora 2017 Rafael Gonçalves INDIVIDUALIDADE, NARRATIVIDADE E INTERAÇÃO EM MÚSICA POPULAR IMPROVISADA Dissertação apresentada ao programa de Mestrado em Artes, Cultura em Linguagens, do Instituto de Artes e Design da Universidade Federal de Juiz de Fora como requisito parcial para obtenção do grau de Mestre em Artes, Cultura e Linguagens. Área de concentração: Teoria e Processos Poéticos Interdisciplinares, linha de pesquisa: Estudos Interartes e Música. Orientador: Prof. Dr. Luiz Eduardo Castelões Pereira da Silva. Juiz de Fora 2017 AGRADECIMENTOS Muito obrigado a todos que contribuíram direta e indiretamente para a realização deste trabalho - professores, colegas e servidores do Mestrado em Artes e do curso de Música da UFJF. Agradeço especialmente ao orientador Luiz Eduardo Castelões, por toda dedicação e atenção, e à minha família, Bruno e Iolanda, pelo apoio em todos os momentos. Como um músico, você tem que acreditar na sua própria expressão, e você não pode olhar em volta para obter a resposta. Como outra pessoa saberia? Essa é a lição subjacente da música de Charlie Parker: seja você mesmo. Duke Ellington disse da melhor forma: "é melhor ser um número um de você mesmo do que um número dois de outra pessoa". (MARSALIS; HINDS, 2005, p. 20 e 21, tradução nossa). RESUMO O presente trabalho discute como se dá a narratividade das improvisações em música popular improvisada - analisando exemplos do Jazz e da Música Instrumental Brasileira. No primeiro capítulo, discutimos a busca de cada intérprete pelo desenvolvimento da sua "voz" ou de sua individualidade como improvisador, por elementos como: seu vocabulário melódico de improvisação, a busca pela sua sonoridade, o desenvolvimento de sua técnica. Fazemos um estudo de caso de dois improvisos do guitarrista americano Jonathan Kreisberg (nascido em 1972-, músico bem atuante e com sólida carreira no cenário de Jazz internacional) nos standards My Favorite Things e Caravan. A análise mostra procedimentos e vocabulário melódico recorrentes nos dois improvisos, que possivelmente evidenciam o estilo de improvisação do músico. No segundo capítulo, discutimos a narratividade de improvisação musical através de alguns conceitos. Observamos como a improvisação pode ocorrer com elementos mais ou menos premeditados (solos ou improvisos). Exploramos a metáfora de improvisar como "contar uma história" - sob o ponto de vista da semântica e sintaxe musical, com base em autores como John Sloboda (2008) e Jean-Jaques Nattiez (2002). Estudamos a criação do arco narrativo típico em improvisação - a variação de densidade/intensidade da improvisação, refletindo com Ingrid Monson (1996) e Turi Collura (2008) - e aplicamos estes conceitos aos dois improvisos de Jonathan Kreisberg já estudados. A seguir, revisamos vários processos de manipulação do vocabulário melódico em improvisação (como paráfrase, desenvolvimento de motivos, livre tematismo). Refletimos sobre o papel do tematismo na criação de coerência interna para improvisação - e pensamos como cada processo de manipulação melódica estudado se comporta em relação à dicotomia inventividade (ou criatividade) versus coerência. No terceiro capítulo, consideramos o papel da interação entre os músicos na construção da narrativa musical, em que os impulsos comunicativos musicais e "extramusicais" desempenham um importante papel nas improvisações. Mostramos processos de interação típicos de música popular improvisada. Fazemos um segundo estudo de caso e analisamos três performances do choro Lamentos pelo Trio Corrente, um grupo de Música Instrumental Brasileira que vem ganhando destaque e reconhecimento nos últimos anos - foram premiados com o "melhor álbum instrumental" no Grammy Latino de 2014. O grupo é composto por Fábio Torres (piano), Paulo Pauleli (baixo) e Edu Ribeiro (bateria). Pela análise das performances do Trio (nos anos 2003, 2012 e 2012) e comparações com outros intérpretes, percebe-se que a narrativa musical pelo grupo preza por uma dinâmica de espontaneidade e de interação musical intensa, mas seguindo parâmetros e procedimentos recorrentes. Desta forma, ao longo do trabalho refletimos sobre processos de improvisação e narratividade musical nos trabalhos de grupos musicais e intérpretes como Jonathan Kreisberg, Jacob do Bandolim, Izaías Bueno, John Coltrane, Miles Davis, Paul Motian Trio, Trio Corrente e outros. Propõe-se pensar que a construção das narrativas musicais improvisadas ocorrem por um processo que envolve a expressão de individualidade de cada músico e as interações entre eles - percebendo o exercício de papéis de solista e acompanhador geralmente constatados na dinâmica de interpretação coletiva. Palavras-chave: Improvisação, Narratividade musical, Interação musical, Jonathan Kreisberg, Trio Corrente. ABSTRACT The present work discusses how the narrativization of improvisations in improvised popular music happen - analyzing examples of Jazz and Brazilian Instrumental Music. In the first chapter, we discuss the search of each interpreter for the development of his "voice" or his individuality as improviser, in elements such as: his melodic improvisation vocabulary, the search for his sonority, the development of his technique. We do a case study of two improvisations by American guitarist Jonathan Kreisberg (born in 1972-, a very active musician with a solid career in the international Jazz scene) in the standards My Favorite Things and Caravan. The analysis shows procedures and melodic vocabulary recurrent in the two improvisations, that possibly evidences the musician's improvisation style. In the second chapter, we discuss the narrativity of musical improvisation through some concepts. We observe how improvisation can occur with more or less premeditated elements (solos or improvisations). We explore the metaphor of improvising as "telling a story" - from the standpoint of semantics and musical syntax, based on authors such as John Sloboda (2008) and Jean-Jaques Nattiez (2002). We studied the creation of the typical narrative arc in improvisation - the density / intensity variation of improvisation, reflecting with Ingrid Monson (1996) and Turi Collura (2008) - and apply these concepts in the two Jonathan Kreisberg improvisations already studied. Next, we review several processes of manipulation of the melodic vocabulary in improvisation (such as paraphrase, motif development and Livre Tematismo). We reflect on the role of thematicism in creating internal coherence for improvisation - and we discuss how each process of melodic manipulation studied behaves in relation to the dichotomy of inventiveness (or creativity) versus coherence. In the third chapter, we consider the role of the interaction between the musicians in the construction of the musical narrative, in which the musical and "extramusical" communicative impulses play an important role in the improvisations. We show typical interaction processes of improvised popular music. We make a second case study and analyze three performances of the "choro" Lamentos by Trio Corrente, a group of Brazilian Instrumental Music that has been gaining prominence and recognition in recent years - they were awarded the "best instrumental album" at the Latin Grammy of 2014. The group is composed by Fábio Torres (piano), Paulo Pauleli (bass) and Edu Ribeiro (drums). By analyzing the performances of the Trio (in the years 2003, 2012 and 2012) and comparisons with other performers, one can notice that the musical narrative by the group values a dynamic of spontaneity and intense musical interaction, but following recurrent parameters and procedures. In this way, throughout the work we reflect on processes of improvisation and musical narrativity by studies on the works of musical groups and performers such as Jonathan Kreisberg, Jacob do Bandolim, Izaias Bueno, John Coltrane, Miles Davis, Paul Motian Trio, Trio Corrente and others. It is proposed to think that the construction of improvised musical narratives occurs through a process that involves the expression of individuality of each musician and the interactions between them - perceiving the exercise of soloist and accompanist roles usually found in the dynamics of collective interpretation. Keywords: Improvisation, Musical Narrativity, Musical Interaction, Jonathan Kreisberg, Trio Corrente. LISTA DE FIGURAS Figura 1: Intercalação de fraseado melódico com acordes. Compassos 12 -17 de My Favorite Things, interpretado por Jonathan Kreisberg. ........................................................................... 39 Figura 2: Intercalação de fraseado melódico com acordes. Compassos 7-9 de Caravan, interpretado por Jonathan Kreisberg......................................................................................... 39 Figura 3: Arpegios tocados em duas oitavas consecutivas. Compassos 47 e 49 de Caravan, interpretado por Jonathan Kreisberg......................................................................................... 40 Figura 4: Arpegios tocados em duas oitavas consecutivas. Compassos 107- 112 de My Favorite Things, interpretado por Jonathan Kreisberg. ............................................................ 40 Figura 5: Arpegios com notas de tensão. Compassos 35 e 37-38 de Caravan, interpretado por Jonathan Kreisberg. .................................................................................................................
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