Entre o processo e o produto: música e/enquanto performance

Nicholas Cook; Fausto Borém

doi:10.35699/2317-6377.2006.55216

Autores

Nicholas Cook Royal Holloway, Universidade de Londres
Fausto Borém Universidade Federal de Minas Gerais

DOI:

https://doi.org/10.35699/2317-6377.2006.55216

Palavras-chave:

teoria da performance, obra musical, texto, script, análise musical

Resumo

A tradicional orientação da musicologia e da teoria musical no texto atrasa a reflexão sobre a música enquanto uma arte da performance. A música pode ser compreendida tanto como um processo quanto um produto, mas é a relação entre os dois que define “performance” na tradição da “arte” ocidental. A partir de teorias interdisciplinares da performance (especialmente estudos sobre teatro, poesia, leitura e etnomusicologia), são levantadas questões e abordagens de pesquisa no estudo da música enquanto performance; considerando partituras como “scripts”, ao invés de “textos”, argumenta-se que pode-se compreender a performance como geradora de significado social.

Biografia do Autor

Nicholas Cook , Royal Holloway, Universidade de Londres

Nicholas Cook, eleito Membro da British Academy em 2001, é Pesquisador Associado e Professor no Departamento de Música da Royal Holloway - University of London, onde coordena o grupo de pesquisa CHARM (Centro de História e Análise da Música Gravada). Foi editor do Journal of the Royal Musical Association, co-editor do Cambridge History of Twentieth-Century Music (2004) e, atualmente, é Editor Associado do Musicae Scientiae. Lecionou em universidades de Hong Kong, Sydney e Southampton. Sua produção acadêmica é interdisciplinar, incluindo livros e artigos relacionados com estética, sociologia, psicologia e análise das músicas erudita e popular. Entre seus livros publicados pela Oxford University Press, estão A Guide to musical analysis (1987); Music, imagination, and culture (1990); Beethoven: Symphony No. 9 (1993); Analysis through composition (1996); Analysing musical multimedia (1998); Rethinking music (1999; co-edição com Mark Everist) e Empirical musicology: aims, methods, prospects (2004; co-edição com Eric Clarke) e Music: a very short introduction (1998), este último publicado em mais de 10 idiomas. Seu mais recente livro é The Schenker project: culture, race, and music theory in fin-de-siècle Vienna. Atualmente, escreve o livro In Real Time: Music as Performance e pesquisa análise da performance em gravações das Mazurkas de Chopin.
Fausto Borém , Universidade Federal de Minas Gerais

Fausto Borém é Professor da Escola de Música da UFMG e pesquisador do CNPq. Coordena os grupos de pesquisa ECAPMUS (Estudos em Controle e Aprendizagem Motora na Performance Musical) e PPPMUS (“Pérolas” e “Pepinos” da Performance Musical), criou e edita a revista Per Musi, implantou o Mestrado em Música na UFMG. Publica trabalhos nas áreas de performance, composição, musicologia, etnomusicologia e educação musical. Como contrabaixista, recebeu diversos prêmios no Brasil e no exterior.

Referências

ADSHEAD, Janet (ed.) (1988). Dance Analysis: Theory and Practice. London: Dance Books.

ASTON, Elaine e SAVONA. George (1991), Theatre as Sign-System: A Semiotics of Text and Performance. Lo don: Routledge.

ATTALI, Jacques (1985), Noise: The Political Economy of Music. Manchester University Press.

BACK, Les (1996). Amount of Sat Siri Akal! Apache Indian, Reggae Music, and the Cultural Intermezzo. New Formations, 27: 128-47.

BERNSTEIN, Charles (1998). Close Listening: Poetry and the Performed Word. New York: Oxford University Press.

BERNSTEIN, Leonard (1959). The Joy of Music. London: Weidenfeld and Nicolson.

BERRY, Wallace (1989). Musical Structure and Performance. New Haven: Yale University Press.

BOWEN, José A. (1993). The History of Remembered Innovation: Tradition and its Role in the Relationship between Musical Works and their Performances. Journal of Musicology 11: 139-73.

BOWEN, José A. (1996). Tempo, Duration, and Flexibility: Techniques in the Analysis of Performance. Journal of Musicological Research 16: 111-56.

BOWEN, José A. (1999). Finding the Music in Musicology: Performance History and Musical Works. In: Nicholas Cook and Mark Everist (eds.), Rethinking Music. Oxford University Press: 424-51.

CHANAN, Michael (1994). Musica Prattica. London: Verso.

CHION, Michel (1994). Audio-Vision: Sound on Screen. New York: Columbia University Press.

CLARKE, Eric; DAVIDSON, Jane (1998). The Body in Performance. In: Wyndham Thomas (ed.), CompositionPerformance-Reception: Studies in the Creative Process in Music. Aldershot: Ashgate: 74-92.

COOK, Nicholas (1995). The Conductor and the Theorist: Furtwängler, Schenker and the First Movement of

Beethoven’s Ninth Symphony. In: John Rink (ed.), The Practice of Performance: Studies in Musical Interpretation. Cambridge University Press: 105-25.

______. (1996). Music Minus One: Rock, Theory, and Performance. New Formations 27: 23-41.

______. (1999a). Words about Music, or Analysis versus Performance. In: Nicholas Cook, Peter Johnson, and Hans Zender, Theory into Practice: Composition, Performance, and the Listening Experience. Leuven University Press, 9-52.

______. (1999b). Performing Rewriting and Rewriting Performance: the First Movement of Brahms’s Piano Trio, Op. 8, In: Tijdschrift voor Muziektheorie 4 : 227-34.

______. (1999c). At the Borders of Musical Identity: Schenker, Corelli, and the Graces. In: Music Analysis 18, 179-233.

FRITH, Simon (1996). Editorial. New Formations 27: v-xii.

GODLOVITCH, Stan (1998). Musical Performance: A Philosophical Study. London: Routledge.

GOEHR, Lydia (1992). The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford: Clarendon Press.

______. (1996). The Perfect Performance of Music and the Perfect Musical Performance. New Formations 27: 1-22.

GOERTZEN, Valerie Woodring (1998). Steeing the Stage: Clara Schumann’s Preludes. In: Bruno Nettl with Melinda Russell (eds.), In the Course of Performance: Studies in the World of Musical Improvisation. University of Chicago Press: 237-60.

HEAD, Matthew (2000). Music with “No Past”? Archaeologies of Joseph Haydn and The Creation. 19th-Century

Music 23: 191-217.

KALLBERG, Jeffrey (1996). Chopin at the Boundaries: Sex, History, and Musical Genre. Cambridge, Mass.: Harvard University Press.

KAYE, Nick (1994). Postmodernism and Performance. London: Macmillan.

KERSHAW, Baz (1992). The Politics of Performance: Radical Theatre as Cultural Intervention. London: Routledge.

KISLIUK, Michelle (1997). (Un)doing Fieldwork: Sharing Songs, Sharing Lives. In: Gregory F. Barz and Timothy J. Cooley (eds.), Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology. New York: Oxford University Press: 23-44.

KISLIUK, Mishelle (1998). Seize the Dance! BaAka Musical Life and the Ethnography of Performance. New York: Oxford University Press, 1998.

KIVY, Peter (1995). Authenticities: Philosophical Reflections on Musical Performance. Ithaca: Cornell University Press.

KORSYN, Kevin (1999). Beyond Privileged Contexts: Intertextuality, Influence, and Dialogue. In: Nicholas Cook and Mark Everist (eds.), Rethinking Music. Oxford University Press: 55-72.

LACASSE, Serge (2000). Intertextuality and Hypertextuality in Recorded Popular Music. In: Michael Talbot (ed.), The Musical Work: Reality or Invention?. Liverpool University Press, 35-58.

LESTER, Joel (1995). Performance and Analysis: Interaction and Interpretation. In: John Rink (ed.), The Practice of Performance: Studies in Musical Interpretation. Cambridge University Press: 197-216

MCFEE, Graham (1992). Understanding Dance. London: Routledge.

MARTIN, Peter (1995). Sounds and Society: Themes in the Sociology of Music. Manchester University Press.

MARTIN, Robert L. (1993). Musical Works in the Worlds of Performers and Listeners. In: Michael Krausz (ed.), The Interpretation of Music: Philosophical Essays. Oxford: Clarendon Press: 119-27.

MELROSE, Susan (1994). A Semiotics of the Dramatic Text. London: Macmillan.

MIDDLETON, Richard (2000). Work-in-(g) Practice: Configuration of the Popular Music Intertext. In: Michael Talbot (ed.), The Musical Work: Reality or Invention?. Liverpool University Press, 59-87.

MONSON, Ingrid (1996). Saying Something: Jazz Improvisation and Interaction. Chicago University Press.

NARMOUR, Eugene (1988). On the Relationship of Analytical Theory to Performance and Interpretation. In: Eugene Narmour and Ruth Solie (eds.). Explorations in Music, the Arts, and Ideas: Essays in Honor of Leonard B. Meyer. Stuyvesant: Pendragon: 317-40.

NETTL, Bruno (1983). The Study of Ethnomusicology: Twenty-nine Issues and Concepts. Urbana: University of Illinois Press.

NEWLIN, Dika (1980). Schoenberg Remembered: Diaries and Recollections (1938-76). New York: Pendragon Press.

PAGE, Tim, ed. (1987). The Glenn Gould Reader. London: Faber.

PHILIP, Robert (1992). Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 1900-1950. Cambridge University Press.

POTTER, John (1998). Vocal Authority: Singing Style and Ideology. Cambridge University Press.

RINK, John (ed.) (1995). The Practice of Performance: Studies in Musical Interpretation. Cambridge University Press.

ROSEN, Charles (1994). The Frontiers of Meaning: Three Informal Lectures on Music. New York: Hill and Wang.

ROSENWALD, Lawrence (1993). Theory, Text-setting, and Performance. Journal of Musicology 11: 52-65.

ROTHSTEIN, William (1995). Analysis and the Act of Performance. In: John Rink (ed.), The Practice of Performance: Studies in Musical Interpretation. Cambridge University Press: 217-40.

SAMSON, Jim (2000). The Practice of Early-Ninettenth-Century Pianism. In: Michael Talbot (ed.), The Musical Work: Reality or Invention?. Liverpool University Press, 110-127.

SCHECHNER, Richard (1988). Performance Theory, rev. ed. New York: Routledge.

SCHENKER, Heinrich (2000). The Art of Performance, ed. Heribert Esser, transl. Irene Schreier Scott. New York: Oxford University Press.

SHUMWAY, David R. (1999). Performance. In: Bruce Horner and Thomas Swiss (eds.), Key Terms in Popular Music and Culture. Malden, Mass.: Blackwells, 188-98.

SMALL, Christopher (1998). Musicking: The Meanings of Performing and Listening. Hanover: Wesleyan University Press.