Sobre Harmonia de Arnold Schoenberg.
tradução de Marden Maluf
DOI:
https://doi.org/10.35699/2317-6377.2004.55772Palavras-chave:
harmonia tonal, tradução, HarmonielehreResumo
Um livro como o Harmonielehre de Arnold Schoenberg tornou-se um dos clássicos, já faz décadas, sobre harmonia tonal e em especial sobre o pensamento deste grande compositor. Existem inúmeras traduções para outras línguas, o que só reforça a sua importância. De todas essas traduções, provavelmente a primeira a ter sido tentada foi a do compositor brasileiro Alberto Nepomuceno, quem em 1916, apenas cinco anos após a primeira edição do Harmonielehre, iniciou um trabalho de tradução deste livro. Infelizmente, a tradução de Nepomuceno ficou inacabada.1 Após décadas de espera chega-nos a tradução do Harmonielehre, realizada por Marden Maluf.
Referências
BELLERMANN, Heinrich. Der Contrapunkt oder zur Stimmfuhrung in der musikalischen Composition. Berlin: Springer, 1862.
BERNSTEIN, David. ‘Schoenberg contra Riemann: Stufen, Regions, Verwandtschaft, and the Theory of Tonal Function’, Theoria: Historical Aspects of Music Theory, 6 (1992), pp. 23–53.
__________. ‘Georg Capellen’s Theory of Reduction: Radical Harmonic Theory at the Turn of the Century’, Journal of Music Theory (1993), 37: 1, pp. 85–116.
BRANDA LACERDA, Marcos. “Breve Resenha das Contribuições de Schenker e Schoenberg para a Análise Musical”, Revista da Escola de Música da UFBA (Dezembro, 1995), pp. 65–79.
BUJIC, Bojan (Ed.). Music in European Thought 1851–1912, in Cambridge Readings in the Literature of Music. Cambridge: Cambridge University Press, 1988.
CORRÊA, Sérgio Alvim. Alberto Nepomuceno, catálogo geral. Rio de Janeiro: Funarte, INM, 1985.
DUDEQUE, Norton. “Schoenberg’s Gedanke manuscript”, British Postgraduate Musicology, 3 (1999), pp. 44–9.
DUNSBY, Jonathan. ‘Schoenberg and the Writings of Schenker’, Journal of the Arnold Schoenberg Institute (1977), 2: 1, pp. 26–33.
DUNSBY, Jonathan and Arnold Whittall. Music Analysis: in Theory and Practice. London: Faber & Faber, 1988.
HILMAR, Rosemary, Alban Berg. Viena: Hermann Böhlaus Nachf., 1978.
__________. “Alban Berg’s Studies with Schoenberg”, Journal of the Arnold Schoenberg Institute, 8: 1 (1984), pp. 7–29.
HULL, Arthur Eaglefield. Modern Harmony: Its Explanation and Application. London: Augener Ltd., 1914.
LENORMAND, René. Etude sur l’harmonie moderne (Study of Twentieth-Century Harmony), Trad. Herbert Antcliffe.
London: Joseph Williams, 1915, publicado originalmente em 1913. Meyers grosses Konversations-Lexikon. ein Nachschlagewerk des allgemeinen Wissens. Leipzig: Bibliographisches Institut, 1891–2.
REICH, Willi. The Life and Work of Alban Berg. Trad. Cornelius Cardew. London: Thames and Hudson,1965.
__________. Schoenberg, A Critical Biography. Trad. Leo Black. London: Longman Group LTD., 1971.
RIEMANN, Hugo. Große Kompositionslehre I. Band Der homophone Satz (Melodielehre und Harmonielehre). Berlin: W. Spemann, 1902.
__________. Katechismus der Harmonie- und Modulationslehre. Leipzig: Max Hesse, 1906.
__________. ‘Handbuch der Musikgeschichte’, in Die Musik des 18. und 19. Jahrhunderts, v. 2/iii. Leipzig: Breitkopf und Härtel, 1922.
__________. Harmony Simplified or The Theory of the Tonal Functions. Trad. Rev. H. Bewerunge. London: Augener & Co., [1896?].
SADIE, Stanley; TYRRELL, John, Eds. The New Grove Dictionary of Music and Musicians. 2nd ed.. London: Macmillan, 2001 (29 volumes).
SCHENKER, Heinrich. Harmony. Trad. Elizabeth M. Borgese. Chicago: University of Chicago Press, 1954.
__________.Counterpoint. Volume I of New Musical Theories and Fantasies—book I Cantus firmus and Two-voice Counterpoint. Trad. John Rothgeb e Jürgen Thym, Ed. John Rothgeb. New York: Schirmer Books, 1987.
SCHOENBERG, Arnold. Letters. Trad. Eithne Wilkins and Ernst Kaiser, Ed. Erwin Stein. London: Faber & Faber, 1964.
__________. Structural Functions of Harmony. Ed. Leonard Stein. London: Faber & Faber, 1969 [1954].
__________. Style and Idea, Selected Writings of Arnold Schoenberg. Trad. Leo Black, Ed. Leonard Stein. London: Faber & Faber, 1975.
__________. The Berg-Schoenberg correspondence. Ed. Julianne Brand, Christopher Hailey e Donald Harris. London: MacMillan Press, 1987.
__________. Theory of Harmony, Harmonielehre [1911]. Trad. Roy E. Carter. London: Faber and Faber, 1978.
__________. The Musical Idea and the Logic, Technique, and Art of Its Presentation. Ed. Patricia Carpenter e Severine Neff. New York: Columbia University Press, 1995.
SECHTER, Simon. Die Grundsätze der musikalischen Komposition, 3 vol. Leipzig: Breitkopf und Härtel, 1853–4.
SIMMS, Bryan R. ‘New Documents in The Schoenberg-Schenker Polemic’, Perspectives of New Music, 16: 1(1977), pp. 110–24.
__________. Review of Theory of Harmony by Arnold Schoenberg translated by Roy E. Carter, Music Theory Spectrum, 4 (1982), pp. 155–62.
SPRATT, John F. ‘The Speculative Content of Schoenberg’s Harmonielehre’, Current Musicology, 11 (1971), pp. 83–9.
STEIN, Erwin. Praktischer Leitfaden zu Schönbergs Harmonielehre: ein Hilfsbuch für Lehrer und Schüler. Vienna: Universal Edition, 1923.
WASON, Robert and Elizabeth West Marvin. ‘Riemann’s “Ideen zu einer ‘Lehre von den Tonvorstellungen’ “: An Annotated Translation’, Journal of Music Theory, 36: 1 (1992), pp. 69–117.
WASON, Robert W. Review of Theory of Harmony by Arnold Schoenberg. Translated by Roy E. Carter, Journal of Music Theory, 25: 2 (1981), pp. 307–16.
__________.Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg. Rochester: University of Rochester Press, 1985.
Downloads
Publicado
Edição
Seção
Licença
Copyright (c) 2004 Per Musi
Este trabalho está licenciado sob uma licença Creative Commons Attribution 4.0 International License.
Exceto onde está indicado, o conteúdo neste site está sob uma Licença Creative Commons - Atribuição 4.0 Internacional.
