O gesto musical e a construção interpretativa de obras contemporâneas brasileiras

Abstract

This study aims to address issues that are still challenging the academic research in musical performance, especially related to the performer's gesture and the gestural conditions that determine the performance of the contemporary academic repertoire for piano. When we talk about instrumental performance, the way of doing it, that is, the way of interpreting, playing and planning the performance is relevant. The conscious development of the sequence of gestures that will constitute the instrumental performance determines in a significant way the interpretative construction. This is because the sound imagination leads the interpreter to the choice of the movements that will produce the differentiated intentional sounds, just as the gestual movements will imply imagined sonic configurations. This question arises when we deal with the interpretation of contemporary music, which contains a vast, growing repertoire that presents diverse tendencies. Because it is an interpretative practice under construction, not crystallized in consecrated aesthetic models, this practice demands from the performer interpretative decisions not foreseen in the pedagogical model that formed the interpreter. Thus, the challenges posed by the contemporary repertoire, which fuel the process of acquiring interpretative skills, emphasized in this research, contribute greatly to the pedagogy of musical performance, implying contributions to the recognition of the musical gesture within a network of elements from structures of unconventional interactions that structure the production of the musical gesture itself. The familiarity, experience and knowledge acquired by the performer about the expressive potential and the stylistic tendencies contained in the text of the work determine his musical understanding, and, consequently, the quality of the instrumental execution. The theoretical framework is based on the considerations and precepts of Robert Hatten (2004), George Kochevitsky (1967), Marc Leman (2008), Leonard Meyer (1989), among others.