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José Roberto Do CARMO JR

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José Roberto Do CARMO JR HIERARQUIA PROSÓDICA E HIERARQUIA MELÓDICA NA CANÇÃO GABRIELA 1 (Prosodic Hierarchy and Melodic Hierarchy in Gabriela) José Roberto do CARMO JR. (Departamento de Linguística – FFLCH Universidade de São Paulo) Raquel Santana SANTOS (Departamento de Linguística – FFLCH Universidade de São Paulo) Resumo: O presente artigo propõe uma investigação das relações de interface entre o componente linguístico – prosódico – e o componente musical na palavra cantada. Tomando como objeto a canção Gabriela, de Tom Jobim, investigamos as relações que se estabelecem entre a hierarquia prosódica (Nespor & Vogel, 1986) e a hierarquia melódica (Carmo Jr 2007). Mostramos que no caso de incompatibilidade entre a estrutura prosódica e meló- dica, os processos fonológicos do português brasileiro de elisão, degeminação, ditongação e retração acentual podem violar seus domínios prosódicos de aplicação, mas ainda assim são organizados de acordo com os domínios melódicos. Palavras-chave: canção; prosódia; processos fonológicos; semiótica. Abstract: In this article we investigate the relation between the linguistic (prosodic) com- ponent and the musical grammar in lyrics. Specifically, by analyzing Gabriela, by Tom Jobim, we discuss the relation between the Prosodic Hierarchy (Nespor & Vogel 1986) and the Melodic Hierarchy (Carmo Jr 2007). We show that when there is a mismatch between these two hierarchies, the phonological processes of elision, degemination, dipthongation and stress retraction in Brazilian Portuguese may not comply with the prosodic domain for their application, while still satisfying the restrictions related to the melodic domains. Key-words: popular song; prosody; phonological process, semiotics. 1. Agradecemos a dois pareceristas anônimos a discussão deste texto. Todos os problemas rema- nescentes são falta unicamente nossa. O primeiro autor agradece também à FAPESP (processo 2008/06656-7) e o segundo autor agradece à FAPESP (2006/00965-2) e ao CNPq (311041/2006-0) pelos auxílios à pesquisa. D.E.L.T.A., 26:2, 2010 (319-343) FFPR1_delta_26-2_miolo.inddPR1_delta_26-2_miolo.indd 331919 113/12/20103/12/2010 116:16:566:16:56 320 D.E.L.T.A., 26:2 1. INTRODUÇÃO A teoria semiótica procura explicitar os mecanismos de geração de sentido dos textos, ou seja, ela procura revelar o que um texto diz e como ele faz isso. No modelo estabelecido por Tatit para a análise semiótica da can- ção (Tatit 1996), o procedimento básico consiste em verificar a ressonância maior ou menor entre o conteúdo linguístico (isotopia temático-figurativa, estrutura narrativa, tensividade) e a expressão melódica (duração das notas, tessitura e andamento). O estudo da canção Gabriela que se segue trata o problema do senti- do de uma maneira diferente, mas que vem complementar a proposta de Tatit. Investigaremos a compatibilidade entre letra e melodia comparando a expressão linguística (hierarquia prosódica) com a expressão melódica (hierarquia melódica) sem fazer nenhuma referência ao conteúdo do texto. Examinaremos sucintamente como se apresenta a hierarquia prosódica dos 20 versos que compõem a canção (§2) e como as sequências melódicas as- sociadas a estes versos se estruturam metricamente (§3), para em seguida observar algumas consequências sobre os processos fonológicos decorrentes da justaposição destes dois componentes na canção (§4). Finalizaremos o ensaio mostrando como os resultados aqui obtidos podem contribuir para o desenvolvimento de um modelo semiótico-prosódico da melodia. 2. O COMPONENTE LINGUÍSTICO (PROSÓDICO) A proposta da teoria prosódica é que processos fonológicos não ocorrem obedecendo apenas a fatores segmentais, mas também são circunscritos a domínios prosódicos. A motivação da proposta de domínios é serem estes os loci onde determinados processos fonológicos ocorrem. A proposta mais corrente na literatura assume que, se um domínio existe numa língua qual- quer (dado que foram encontrados processos fonológicos que nele ocorrem), ele existe em qualquer língua, mesmo que em uma outra língua ele pareça ser inoperante (cf. Nespor & Vogel 1986). Segundo Nespor & Vogel, as informações prosódicas estão organizadas em sete níveis ou domínios hie- rárquicos: sílaba (S), pé (F), palavra fonológica (W), grupo clítico (C), frase fonológica (PhP), frase entoacional (I) e enunciado (U). Os níveis acima da palavra fonológica (esta incluída) seriam construídos a partir de noções não-fonológicas, ou seja, levando em conta informações de outros compo- FFPR1_delta_26-2_miolo.inddPR1_delta_26-2_miolo.indd 332020 113/12/20103/12/2010 116:16:566:16:56 CARMO JR. & SANTOS: HIERARQUIA PROSÓDICA E HIERARQUIA MELÓDICA 321 nentes da gramática (morfologia, sintaxe, semântica). A palavra fonológica e o grupo clítico fariam uso de noções morfo-fonológicas; a frase fonológica usa de noções sintáticas; a frase entoacional usa de informações sintáticas e semânticas; e o enunciado usa de informações semântico-discursivas. Cada domínio pode incluir várias unidades do domínio inferior (no mínimo uma), como é possível observar na Figura (1) abaixo: Figura 1: Hierarquia prosódica. Esta é a proposta geral da hierarquia prosódica, mas assume-se que vários aspectos de sua aplicação são definidos por cada língua particular. Para nós, interessa-nos aqui apenas aspectos particulares do pé em português brasileiro. Segundo Nespor & Vogel, o pé é uma unidade que compreende uma e apenas uma sílaba forte e pode ter de nenhuma a várias sílabas fracas. Portanto, a escolha de quantas sílabas os pés terão e qual a posição da sílaba forte (no início ou no final) é uma escolha de cada língua. Assume-se que o português tem um ritmo binário (no máximo duas sílabas), com a sílaba forte à esquerda (portanto, um troqueu) (cf. (Carvalho 1989), (Collischon 1994), entre outros).2 2. Um dos pareceristas chama a atenção de que uma análise alternativa seria a de assumir o pé n-ário para o português e de que a proposta de Collischon é para explicar o acento secundário. De fato, os estudos sobre o pé no português brasileiro propõem diferentes análises. Estudos que buscam por correlatos acústicos do acento secundário argumentam não encontrar evidências que apontem para uma alternância binária (cf. Arantes & Barbosa 2002, Moraes 2003, Arantes 2005, por exemplo). Por outro lado, estudos que discutem processos fonológicos que ocorrem relacionados ao ritmo apontam para a alternância binária (cf. Abousalh 1997, Abaurre & Svartman 2008, entre outros). FFPR1_delta_26-2_miolo.inddPR1_delta_26-2_miolo.indd 332121 113/12/20103/12/2010 116:16:566:16:56 322 D.E.L.T.A., 26:2 Assume-se também que as línguas obedeçam ao Princípio de Alter- nância Rítmica (cf. (Selkirk 1984) e (Takezawa 1981)), segundo o qual, as línguas preferem sentenças o mais eurrítmicas possível. Para isso, ela usa de processos fonológicos (como a retração acentual, a haplologia, as regras de sândi) para otimizar o ritmo de suas sentenças. No entanto, essas regras não ocorrem sem restrições, elas só podem ocorrer dentro de domínios prosódicos específicos. A língua então sofre uma tensão: quer, a todo custo, sentenças ritmicamente ótimas e para isso aplica processos fonológicos; mas os processos têm que obedecer aos domínios prosódicos, o que significa que nem sempre as sentenças terão o melhor ritmo possível. 2.1. Processos fonológicos e hierarquia prosódica Como dissemos no início desta seção, há alguns processos fonológicos que levam em conta informações prosódicas. Neste artigo, discutiremos alguns processos de sândi externo (especificamente a elisão, a degeminação e a ditongação) e a retração acentual. Por isto, nesta seção, resumimos bre- vemente as condições de aplicação dos mesmos em português brasileiro. As regras de degeminação e elisão implicam a diminuição da quantidade de sílabas de um contexto. A degeminação vocálica ocorre entre duas vogais com as mesmas características segmentais, provenientes de diferentes síla- bas, que resultam em uma sílaba CV. Segundo Bisol (1996), a degeminação envolve uma fusão das vogais, que pode ser seguida de um encurtamento do segmento gerado. Não há restrições às propriedades segmentais da vogal envolvida no processo. Quanto às propriedades acentuais, o processo pode ocorrer entre duas sílabas fracas, uma sílaba forte e uma fraca, ou uma fraca e uma forte; nunca ocorre entre duas sílabas fortes ou se a sílaba forte carrega proeminência do nível da frase fonológica. Em (1) exemplificamos um caso de possibilidade (por envolver duas sílabas fracas) e em (2) um caso de bloqueio do processo (por envolver duas sílabas fortes):3 Assumindo que a implementação fonética não necessariamente mapeia a estrutura fonológica (em nosso caso, rítmica) subjacente, adotamos aqui esta segunda via de análise. 3. Os exemplos desta seção são de Santos (2007). A sentença no lado esquerdo traz os domínios prosódicos entre parênteses (para sua construção, cf. Nespor & Vogel 1986). No lado direito, a transcrição fonética. O itálico marca o contexto segmental da regra e as letras em maiúsculo indicam as sílabas acentuadas. O asterisco indica inaceitabilidade daquele tipo de produção. FFPR1_delta_26-2_miolo.inddPR1_delta_26-2_miolo.indd 332222 113/12/20103/12/2010 116:16:566:16:56 CARMO JR. & SANTOS: HIERARQUIA PROSÓDICA E HIERARQUIA MELÓDICA 323 w 1) [eu comprei [um QUAdro hoRRÍvel]PhP ]I >> [’k a.d o.’xi.v w] 2) [ele falaRÁ] PhP [ALto deMAIS] PhP]I >> * [fa.la’raw.to.de.’majs] A elisão, em português brasileiro, apaga a primeira vogal em um contexto de encontro vocálico em sílabas de palavras diferentes. Segundo Bisol (2003), a primeira
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