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Universidade Estadual Paulista “Júlio De Mesquita Filho” 1 UNIVERSIDADE ESTADUAL PAULISTA “JÚLIO DE MESQUITA FILHO” INSTITUTO DE ARTES PROGRAMA DE PÓS-GRADUAÇÃO EM MÚSICA STRICTO SENSU EDER WILKER BORGES PENA SATIERIK MUSIQUE: DA NATUREZA DA MÚSICA HUMORÍSTICA EM ERIK SATIE São Paulo 2017 2 EDER WILKER BORGES PENA SATIERIK MUSIQUE: DA NATUREZA DA MÚSICA HUMORÍSTICA EM ERIK SATIE Dissertação apresentada ao Programa de Pós- Graduação em Música do Instituto de Artes da UNESP – Universidade Estadual Paulista “Júlio de Mesquita Filho” – Campus de São Paulo – como exigência final para obtenção do título de Mestre em Música. Área de concentração: Música. Orientadora: Profa. Dra. Lia Vera Tomás. São Paulo 2017 3 Ficha catalográfica preparada pelo Serviço de Biblioteca e Documentação do Instituto de Artes da UNESP P397s Pena, Eder Wilker Borges, 1993- Satierik Musique : da natureza da música humorística em Erik Satie / Eder Wilker Borges Pena. - São Paulo, 2017. 320 f. : il. Orientadora: Profª. Drª. Lia Tomás. Dissertação (Mestrado em Música) – Universidade Estadual Paulista “Julio de Mesquita Filho”, Instituto de Artes. 1. Satie, Erik - 1866-1925. 2. Música experimental. 3. Música humorística. I. Tomás, Lia. II. Universidade Estadual Paulista, Instituto de Artes. III. Título. CDD 780.15 4 EDER WILKER BORGES PENA SATIERIK MUSIQUE: DA NATUREZA DA MÚSICA HUMORÍSTICA EM ERIK SATIE Dissertação julgada e aprovada para a obtenção do grau de Mestre em Música pelo programa de Pós-Graduação em Música do Instituto de Artes da Universidade Estadual Paulista “Júlio de Mesquita Filho” – IA/UNESP. São Paulo, ___ de _______________ de 2017. BANCA EXAMINADORA _____________________________________ Profa. Dra. Lia Vera Tomás (orientadora) Instituto de Artes – Universidade Estadual Paulista _____________________________________ Prof. Dr. Marcos José Cruz Mesquita Instituto de Artes – Universidade Estadual Paulista _____________________________________ Prof. Dr. Celso Luiz de Araujo Cintra Instituto de Artes – Universidade Federal de Uberlândia _____________________________________ Prof. Dr. Maurício Funcia de Bonis (suplente) Instituto de Artes – Universidade Estadual Paulista _____________________________________ Prof. Dr. Mário Rodrigues Videira Júnior (suplente) Departamento de Música ECA – Universidade de São Paulo 5 a Eleomar Rosa Pena in memoriam 6 Agradecimentos Agradeço a todos aqueles que contribuíram à minha formação como músico e pesquisador. Em especial à minha orientadora, Lia Tomás, quem me apontou novos caminhos de compreensão da pesquisa. A todos os pesquisadores que adentraram a fantasia de Satie anteriormente, sem os quais este trabalho seria impossível. A minha família quem me deu todo o apoio e auxílio para que este projeto tomasse forma. Em especial, a minha mãe, Cléia-Onice Maria Borges Pena e meu irmão, Eric Willian Borges Pena. A meus amigos que, embora distantes, me proporcionaram o alívio mental necessário em momentos de necessidade. A todos os novos relacionamentos que construí na cidade de São Paulo. Em especial a Juliana Lucca de Bittencourt Fialho com quem compartilhei inúmeros pensamentos e recebi dicas e conselhos musicais durante todo o decorrer da pesquisa. A CAPES, por ter fornecido o fomento necessário, através de uma bolsa, para a realização desta pesquisa. Aos membros da banca de qualificação e defesa pelas dicas, instruções e questionamentos para o aperfeiçoamento do trabalho. A mim mesmo, por ter resistido e mantido viva minha verve durante todo este percurso. 7 Eu estou feliz de ter tido a oportunidade de analisar uma obra tão perfeita, verdadeira e de um doce tesouro artístico repleto de lógica simples e terna, tesouro todo fluido de uma inspiração regular e abundante. Erik Satie (Écrits) Para estar interessado em Satie, deve-se, primeiramente, estar desinteressado, aceitar que um som é um som e um homem é um homem, desistir das ilusões sobre ideias de ordem, expressão de sentimentos e todo o resto de nossa herdada baboseira estética. John Cage (Silence) Há alguns dias atrás, choveu. Eu deveria estar lá fora colhendo cogumelos. Mas aqui estou tendo que escrever sobre Satie. Em um momento de descuido, eu disse que iria. Agora eu sou importunado por um prazo de entrega. Por que cargas d‟água as pessoas não leem os livros sobre ele que estão disponíveis, tocam a música que está publicada? Então, eu ao menos poderia voltar para os bosques e gastar meu tempo de forma profícua. John Cage (Silence) Eu me dedico esta obra. Erik Satie (Prélude de la porte héroïque du ciel) 8 Resumo O seguinte trabalho tem por objetivo abordar a natureza da música humorística em Erik Satie, sua aplicação, função e caráter estético. Para isto, através de sua obra musical, seus escritos, estudos acadêmicos realizados sobre o compositor, relatos e críticas musicais da época, buscou-se, inicialmente, reconstruir a lógica pessoal e composicional do compositor, ambas inerentes. Em seguida, a fim de tornar possível uma análise adequada do humor em suas obras, procurou-se, através da reflexão existente sobre o tema no âmbito da filosofia, atribuir uma definição clara e prática da natureza do humor, do riso, assim como, determinar a gênese de sua má reputação. A partir disto, com base no conceito de humor e em textos musicológicos sobre a música humorística, desenvolvemos um aparato técnico de reconhecimento e aplicabilidade do humor no âmbito da música. Com este referencial teórico em mãos, fez-se possível a análise da aplicação e função do humor em quinze conjuntos de peças humorísticas do compositor: Gnossiennes; Pièces Froides; Troix Morceaux en forme de Poire; Préludes Flasques (Pour un Chien); Véritables Préludes Flasques (Pour un Chien); Descriptions Automatiques; Croquis et Agaceries d‟un Gros Bonhomme en Bois; Embryons Desséchés; Chapitres Tournés en Tous Sens; Vieux Sequins et Vieilles Curaisses; Choses Vues à droite et à gauche; Heures Séculaires et Instantanées; Trois Valses distinguées de précieux dégoûté; Avant-dernières Pensées; e Sonatine Bureaucratique. Em seguida, através de artigos humorísticos publicados por Satie e de críticas publicadas acerca do compositor, foi realizada uma análise comparativa da função de contracrítica ao cânone e à tradição desempenhada pelo humor de Satie. Desta forma, pôde-se desmistificar o caráter superficial e inofensivo e a ideia de excentricidade, amadorismo e insensatez que trespassa sua prática humorística, tanto musical quanto textual. Por fim, através de todo o trabalho desenvolvido, averiguou-se a hipótese inicial, na qual a obra de Satie, em função do eleito aspecto do humor, entre outros, é, de fato, um experimentalismo avant la lettre em seu caráter estético. Palavras-chave: Erik Satie, Música Humorística, Música Experimental. 9 Abstract The following work aims to approach the nature of Erik Satie‟s humorous music, its application, role played and aesthetical disposition. In order to do this, we sought, initially, through his musical works, writings, academical studies about the composer, reports and musical criticism at the time, to rebuild his personal and compositional logic, both inherent. Thereafter, for the purpose of making an appropriated analysis of humor in his works, we searched, through the existing reflection on the subject in the field of philosophy, to ascribe a clear and practical definition upon the nature of humor, laughter, as well as to determine the genesis of its bad reputation. Thus, based on the concept of humor and in musicological texts about humorous music, we developed a technical apparatus of recognition and application of humor in the musical‟s scope. With that theoretical referential in hands, it was made possible an analysis of the application and function of humor in fifteen groups of humorous pieces written by the composer: Gnossiennes; Pièces Froides; Troix Morceaux en forme de Poire; Préludes Flasques (Pour un Chien); Véritables Préludes Flasques (Pour un Chien); Descriptions Automatiques; Croquis et Agaceries d‟un Gros Bonhomme en Bois; Embryons Desséchés; Chapitres Tournés en Tous Sens; Vieux Sequins et Vieilles Curaisses; Choses Vues à droite et à gauche; Heures Séculaires et Instantanées; Trois Valses distinguées de précieux dégoûté; Avant-dernières Pensées; and Sonatine Bureaucratique. Subsequently, through humorous articles published by Satie and critics published on the composer, we made a comparative analysis of the countercriticism role played by Erik Satie‟s humor against the canon and tradition. Thus, we could demystify the superficial and innocuous character and the idea of eccentricity, amateurism and insanity which trespass his humorous practice, the musical and textual as well. Last, but not least, throughout all the work developed, we verified the initial hypothesis in which Satie‟s oeuvre, due to the elected aspect of humor, among others, is, indeed, an experimentalism avant la lettre in its aesthetical disposition. Keywords: Erik Satie; Humorous Music; Experimental Music. 10 Lista de Figuras Figura 1 - Trecho inicial de Mannière de Commencement. ........................................................................126 Figura 2 - Trecho final de Mannière de Commencement. ...........................................................................126 Figura 3 - Segunda interrupção do fluxo musical em I Lentement (comp. 16-18). ......................................127 Figura 4 - III ou Enlevé, trecho de ocorrência humorística do tipo (I8), (comp. 13-18). ..............................128 Figura 5 - Compassos finais de Voix d'Intérieur. .......................................................................................130
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