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Aspectos Gerais E Técnicos Do Violino/Viola Sob a Perspectiva De Carl Flesch E Ivan Galamian – Suas Influências Na Era Digital

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Aspectos Gerais E Técnicos Do Violino/Viola Sob a Perspectiva De Carl Flesch E Ivan Galamian – Suas Influências Na Era Digital VALTER EIJI KAKIZAKI ASPECTOS GERAIS E TÉCNICOS DO VIOLINO/VIOLA SOB A PERSPECTIVA DE CARL FLESCH E IVAN GALAMIAN – SUAS INFLUÊNCIAS NA ERA DIGITAL CAMPINAS – SP 2014 i UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES VALTER EIJI KAKIZAKI ASPECTOS GERAIS E TÉCNICOS DO VIOLINO/VIOLA SOB A PERSPECTIVA DE CARL FLESCH E IVAN GALAMIAN - SUAS INFLUÊNCIAS NA ERA DIGITAL Dissertação de Mestrado apresentada ao Programa de Pós-Graduação em Música do Instituto de Artes da Universidade Estadual de Campinas, para obtenção do título de Mestre em Música. ORIENTADOR: PROF. DR. EMERSON LUIZ DE BIAGGI Este exemplar corresponde à versão final da Dissertação defendida pelo aluno Valter Eiji Kakizaki e orientado pelo Prof. Dr. Emerson Luiz De Biaggi. _____________________________________________ CAMPINAS – SP 2014 iii iv v vi RESUMO Este trabalho tem por finalidade a compreensão e comparação dos pensamentos de dois dos mais importantes pedagogos do ensino de violino no século XX, Carl Flesch e Ivan Galamian, e averiguar suas influências nos dias de hoje em vídeos disponibilizados na internet. Inicialmente levantamos nos livros The Art of Violin Playing (Carl Flesch, 1923) e Principles of Violin Playing and Teaching (Ivan Galamian, 1962) as principais ideias desses autores sobre aspectos gerais, técnicos e interpretativos, fazendo uma comparação entre suas propostas pedagógicas. Em seguida analisamos os materiais pedagógicos postados na internet por professores de reconhecida competência, Todd Ehle e Kurt Sassmannshaus, observando os mesmos aspectos e parâmetros observados nos livros, verificando como as informações transmitidas por esses últimos se relacionam com as técnicas sugeridas por Carl Flesch e Ivan Galamian. Palavras chave: Carl Flesch; Ivan Galamian; Música – ensino e estudo. vii viii ABSTRACT The purpose of this study is to understand and compare the thoughts of two of the most important violin pedagogues of the 20th Century, Carl Flesch and Ivan Galamian, and investigate their influences nowadays in videos available on the internet. Therefore, we summarized the main ideas presented by the two authors regarding general, technical and interpretative aspects in the books "The Art of Violin playing " (Carl Flesch, 1923) and "The Art of Violin Playing and Teaching" (Ivan Galamian, 1962), making a comparison between their pedagogical proposals. Then, we examined the pedagogical materials posted on the internet by professors of recognized competence, Todd Ehle e Kurt Sassmannshaus, observing the same aspects and parameters discussed in the two books, verifying how this more recent material relates to the techniques suggested by Carl Flesch and Ivan Galamian. Key-words: Carl Flesch; Ivan Galamian; Music – teaching and practice. ix x SUMÁRIO INTRODUÇÃO ............................................................................................................................................. 1 1 OS PEDAGOGOS................................................................................................................................. 9 1.1 CARL FLESCH ......................................................................................................................................................... 9 1.2 IVAN GALAMIAN ................................................................................................................................................... 13 1.3 TODD EHLE E KURT SASSMANNSHAUS ...................................................................................................................... 16 2 PERSPECTIVAS DE FLESCH E GALAMIAN .............................................................................. 19 2.1 SOBRE O ESTUDO .................................................................................................................................................. 19 2.2 O INSTRUMENTO .................................................................................................................................................. 43 2.2.1 Postura ................................................................................................................................................... 44 2.3 MÃO ESQUERDA .................................................................................................................................................. 50 2.3.1 Mudança de posição .............................................................................................................................. 53 2.3.2 Trinado ................................................................................................................................................... 55 2.3.3 Vibrato ................................................................................................................................................... 59 2.3.4 Harmônicos ............................................................................................................................................ 72 2.4 MÃO DIREITA ....................................................................................................................................................... 74 2.4.1 Movimentos básicos ............................................................................................................................... 82 2.4.2 Produção de som .................................................................................................................................... 95 2.4.3 Pizzicato ................................................................................................................................................. 98 2.4.4 Golpes de arco...................................................................................................................................... 100 3 PERSPECTIVAS DE TODD EHLE E KURT SASSMANNSHAUS ........................................... 115 3.1 SOBRE O ESTUDO ................................................................................................................................................ 115 3.2 POSTURA CORPORAL ........................................................................................................................................... 117 xi 3.3 MÃO ESQUERDA ................................................................................................................................................ 120 3.4 MÃO DIREITA ..................................................................................................................................................... 135 3.4.1 Posicionamento do arco ....................................................................................................................... 135 3.4.2 Produção de som .................................................................................................................................. 141 3.4.3 Golpes de arco...................................................................................................................................... 143 CONCLUSÕES.......................................................................................................................................... 147 REFERÊNCIAS BIBLIOGRAFICAS .................................................................................................... 151 BIBLIOGRAFIA ....................................................................................................................................... 153 ANEXOS .................................................................................................................................................... 155 ANEXO A – ROTINA DE ESTUDO (PRACTICE SCHEDULE) ..................................................................................................... 155 xii Ao Professor Doutor Emerson Luiz De Biaggi; Aos meus pais: Emília e Mauro; Ao meu irmão: Alex À minha esposa e filho: Lucia e Erick. xiii xiv AGRADECIMENTOS Ao Professor Doutor Emerson Luiz De Biaggi pela dedicação, orientação e compreensão em todos os momentos; à minha família por toda a paciência, incentivo, carinho e apoio para o término deste projeto; aos amigos pelos momentos memoráveis; àqueles que contribuíram de alguma forma para a conclusão da dissertação e à Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP). xv xvi LISTA DE FIGURAS FIGURA 1 – ESCALA EM UMA OITAVA , ............................................................................................................................................. 30 FIGURA 2 – ESCALA EM TRÊS OITAVAS............................................................................................................................................... 31 FIGURA 3 – ESCALA DE TERÇAS EM CORDAS DUPLAS ............................................................................................................................ 32 FIGURA 4 – ESCALAS EM INTERVALOS DE SEXTA .................................................................................................................................. 33 FIGURA 5 – ESCALA EM OITAVAS PARALELAS ...................................................................................................................................... 35 FIGURA 6 – ESCALA EM OITAVAS DEDILHADAS .................................................................................................................................... 37 FIGURA 7 – ESCALA EM DÉCIMAS ....................................................................................................................................................
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