A inclusão da performance na análise musical: uma perspectiva a partir da construção da sonoridade em peças para piano

Abstract

This research presents a proceeding of analysis of the sonority where the performance, in conjunction with the performative decisions regarding this parameter, constituting a basis to the understanding of the sonority in any musical piece. Based upon Guigue's methodology (2011), the analytical proposition developed presupposes an idea of the musical work as a morphological element (COSTA, 2016), that is susceptible to procedures of deterritorialization (DELEUZE; GUATTARI, 1995) and declassification (GARCÍA-GUTIERREZ, 2007). This analysis of the sonority was applied in three piano pieces: Contrastes e Ressonâncias, de Marisa Rezende, e Cartas Celestes Volume I de Almeida Prado. In this analysis, the author of this research acted as a pianist, in the study and recording of the pieces, and also as an analyst, referring to the role of the artistic researcher (COESSES et al., 2009) The analysis undertaken brought important reflexion about the determinant role of the performer as a shaper of the musical work, as also opened path to a different ontological understanding of the musical work, which may allow the exploration of new routes in musical research.