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Belo Horizonte 2017 UNIVERSIDADE FEDERAL DE MINAS GERAIS ESCOLA DE MÚSICA PROGRAMA DE PÓS-GRADUAÇÃO EM MÚSICA HEVELYN COSTA DA SILVA HIPERTEXTUALIDADE E TRADUÇÃO INTERSEMIÓTICA: UM MERGULHO NOS MARES DA CANÇÃO DE FERNANDO RIBEIRO E ARNALDO SISSON Belo Horizonte 2017 HEVELYN COSTA DA SILVA HIPERTEXTUALIDADE E TRADUÇÃO INTERSEMIÓTICA: UM MERGULHO NOS MARES DA CANÇÃO DE FERNANDO RIBEIRO E ARNALDO SISSON Dissertação apresentada ao Programa de Pós- graduação em Música da Universidade Federal de Minas Gerais como requisito parcial à obtenção do título de Mestra em Música Linha de pesquisa: Performance Musical Orientadora: Prof.ª Dr.ª Luciana Monteiro de Castro Silva Dutra Belo Horizonte 2017 Ficha catalográfica elaborada pela Biblioteca da Escola de Música da UFMG S586h Silva, Hevelyn Costa da Hipertextualidade e tradução intersemiótica [manuscrito]: um mergulho nos mares da canção de Fernan- do Ribeiro e Arnaldo Sisson. / Hevelyn Costa da Silva. – 2017. 126 f., enc.; il. + 1 CD Orientadora: Luciana Monteiro de Castro Silva Dutra. Área de concentração: Performance musical. Dissertação (mestrado) – Universidade Federal de Minas Gerais, Escola de Música. Inclui bibliografia. 1. Música – Teses. 2. Tradução intersemiótica. 3. Hipertextualidade. I. Dutra, Luciana Monteiro de Castro Silva. II. Universidade Federal de Minas Gerais. Escola de Música. III. Título. CDD: 780.072 Scanned by CamScanner AGRADECIMENTOS Esta dissertação é o resultado de uma pesquisa realizada em Belo Horizonte e em Porto Alegre: a primeira cidade, pela localização da Escola de Música da UFMG e de seu Programa de Pós-graduação em Música, onde meu projeto foi acolhido, estruturado e de- senvolvido; a segunda, por ser a cidade do cantautor gaúcho Fernando Ribeiro, artista que ora homenageio e cujo primeiro álbum musical, lançado oficialmente em 1977, é aqui reme- morado. Fernando Affonso Fernandes Ribeiro (1949-2006), in memoriam, pela inspiradora obra deixada. Arnaldo Sisson, Toneco da Costa, Dedé Ribeiro, Juarez Fonseca e Ayres Potthoff pe- la disponibilidade, gentileza e paciência em responder meus recados e e-mails constantes. Emílio Pacheco, pela solicitude e prontidão tanto ao sanar minhas dúvidas, quanto no envio de parte de seu imenso acervo de recortes de jornais dos anos 1976-1980. Lucio Haesen, pela concessão de gravações raras de Fernando Ribeiro e banda na rá- dio AM Continental. Pedro Huff, Lucas Telles, Natália Mitre, Anderson Reis, Marco Teruel Castellon e Jo- ão Paulo Campos, músicos maravilhosos e competentes, pela parceria sincera. Luciana Monteiro de Castro, minha orientadora, não somente por abraçar esta pro- posta desde a seleção, mas também pelo aprendizado e pelo cuidado durante minha estada em Minas Gerais. À CAPES (Coordenação de Aperfeiçoamento de Pessoal de nível Superior), agência pública a qual agradeço imensamente pela bolsa de pós-graduação a mim concedida. RESUMO A presente dissertação propõe a construção de releituras musicais a partir da abor- dagem da canção popular como um processo de tradução intersemiótica, de raiz peirciana, e como uma construção hipertextual com base na definição de hipertextualidade trazida por Gérard Genette. O trabalho considera que tal proposta de análise da canção possa conduzir o cantor quando este se encontra na posição de “diretor” da elaboração de arranjos musi- cais em colaboração com outros instrumentistas/arranjadores. Nesse contexto, escolhi co- mo objetos de estudo três canções do LP Em mar aberto, do cantautor gaúcho Fernando Ribeiro; são elas: Não demora, Em mar aberto e Delírio. A teoria da tradução intersemiótica me permitiu considerar os aspectos iconográficos da capa do álbum musical em diálogo com as canções e, dessa forma, procurei identificar de que maneira se dá a relação entre algumas das linguagens utilizadas na obra e em seu suporte material, o LP e sua capa, a saber: lingua- gens verbal, sonora e visual. Por outro lado, a ideia de hipertextualidade me trouxe à luz possíveis alusões, evocações e conexões desse registro fonográfico com obras de configura- ções diversas. Na percepção de tais ligações de uma linguagem em outra, de um texto em outro, estaria uma fonte capaz de fornecer ao cantor os recursos criativos para suas releitu- ras. Sendo assim, acredito que, ao interpretar os significados implícitos da canção popular, o cantor (ora também tradutor) seria capaz de guiar outros músicos instrumentistas na tarefa do arranjo musical, essência deste novo olhar sobre a canção, sempre em conexão à obra original, mas sem descartar suas próprias perspectivas como intérprete e indivíduo. Palavras-chave: Canções de Fernando Ribeiro e Arnaldo Sisson. Tradução intersemiótica. Música e hipertextualidade. Violoncelo e voz. Contrabaixo e voz. ABSTRACT This work proposes the construction of musical reinterpretations by taking the ap- proach of popular song as an intersemiotic translation process, of Peirce's root, and as a hypertext construction based on the definition of hypertextuality proposed by Gérard Ge- nette. The paper considers that such analysis proposal of song can inform the singer in the task of directing the development of musical arrangements in collaboration with other musi- cians/arrangers. In this context, I have chosen three songs of Em mar aberto’s LP, by the sing- er-songwriter Fernando Ribeiro, as objects of study; which are: Não demora, Em mar aberto and Delírio. The theory of intersemiotic translation allowed me to consider the iconographic aspects of the album cover in dialogue with the songs. I then sought to identify how it ex- poses the relationship between the recording and supporting material; namely, the verbal, aural and visual languages. On the other hand, the idea of hypertextuality led me to consider possible allusions, evocations and connections of that phonograph record with different types of works. In the perception of such links from one language to another, from one text to another, might lie a source capable of providing the singer creative resources for new interpretations. Thus, I believe, by interpreting the implicit meaning of the popular song, the singer [now also a translator] would be able to guide other instrumentalists in the process of musical arrangement, the essence of this new view of the song, always in connection to the original work, but without discarding their own perspectives as an interpreter and individual. Keywords: Fernando Ribeiro and Arnaldo Sisson’s songs. Intersemiotic translation. Music and hypertextuality. Cello and voice. Double bass and voice. LISTA DE QUADROS Quadro 1: Fernando Ribeiro em festivais MUSI-PUC (1971-1976) .............................................. 20 Quadro 2: Canções "de chumbo" e "da abertura" ............................................................................ 30 Quadro 3: O período de repressão como hipotexto-mor ............................................................. 34 Quadro 4: Análise intersemiótica por estrofe de Não demora (faixa nº 2) ................................. 42 Quadro 5: Análise intersemiótica por estrofe de Em mar aberto (faixa nº 5) ............................. 45 Quadro 6: Análise intersemiótica por estrofe de Delírio (faixa nº 12) .......................................... 48 Quadro 7: Padrões intersemióticos encontrados nos arranjos do LP ......................................... 60 Quadro 8: Um LP, uma ideia central – a de lançar-se ao mar ....................................................... 62 Quadro 9: Etapas do processo de construção dos arranjos .......................................................... 66 Quadro 10: As diferentes execuções por estrofe do ritmo chamamé no contrabaixo, suas conexões com a voz e indicações de possíveis movimentos e gestos corporais ...................... 71 Quadro 11: Recorte da configuração do "Mapa de arranjo" .......................................................... 74 Quadro 12: "Mapa de arranjo" para Delírio enviado ao instrumentista ........................................ 81 LISTA DE FIGURAS Figura 1: Nota de jornal, “Fernando e disco: tudo certo” .............................................................. 21 Figura 2: Jonathan Livingston Seagull, a story (1970), de Richard Bach ............................................ 25 Figura 3: Crítica de jornal acerca do espetáculo Em mar aberto em Porto Alegre .................... 32 Figura 4: Fotografia de Fernando Ribeiro ............................................................................................ 33 Figura 5: Não demora, Estrofe nº 1 – melodia e harmonia .............................................................. 41 Figura 6: Perfil melódico vocal de Em mar aberto e tensões harmônicas (versos 1-4) ............. 44 Figura 7: Exemplo da movimentação melódica nos versos 4-5 de Delírio .................................... 47 Figura 8: Perfil melódico da voz e do violão nos versos 3-4 de Ultimamente ............................. 50 Figura 9: Perfil melódico e harmonia nos versos 3-5 da faixa Estado de espírito ......................... 53 Figura 10: Trecho do perfil melódico vocal do Hino Nacional Brasileiro ....................................... 56 Figura 11: Acompanhamento de guitarra em evocação do Hino Nacional Brasileiro no refrão de Aqui & Ali (faixa nº 8, refrão, v. 14) ................................................................................................. 56 Figura 12: Última estrofe da faixa Olhos de freira (versos 9-12) ..................................................... 58 Figura 13: Capa do LP Em mar aberto (1977) ....................................................................................
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