A comunicação entre artistas e público no desempenho da música acadêmica
DOI:
https://doi.org/10.24215/2422572Xe020Palavras-chave:
música, comunicação, performance, performer, narraçãoResumo
A pesquisa empírica sobre a performance musical acadêmica na interação intérprete-público é apresentada através da analogia da narração musical. A metodologia utilizada foi de natureza qualitativa. As entrevistas foram realizadas com um grupo de intérpretes de músicos, com o objetivo de obter descrições da comunicação intérprete-pública. Os resultados permitem questionar: (i) a direcionalidade única na estrutura comunicativa desde a composição da obra até a situação do concerto; (ii) o papel do performer como mediador da mensagem enunciada pelo compositor em relação ao ouvinte. Em vez disso, a performance entendida como uma narrativa do trabalho musical envolve a criação de uma versão da partitura que, na interpretação do intérprete, depende de situações contextuais e de sua percepção do público.
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Referências
Abbate, C. (1991). Unsung voices: Opera and musical narrative in the nineteenth century. Princeton: Princeton University Press.
Acero, J. J. y Villanueva, N. (2012). Wittgenstein y la intencionalidad de lo mental. Análisis Filosófico, 32(2), 117-155.
Almén, B. (2008). A theory of musical narrative. Bloomington: Indiana University Press.
Brand, G., Sloboda, J., Saul, B. y Hathaway, M. (2012). The reciprocal relationship between jazz musicians and audiences in live performances: A pilot qualitative study. Psychology of Music, 40(5), 634-651. https://doi.org/10.1177/0305735612448509
Bruner, J. S. (1986/2004). Realidad mental y mundos posibles: Los actos de la imaginación que dan sentido a la experiencia. (B. López, TraD.). Barcelona: Gedisa.
Bruner, J. S. (1990/1991). Actos de significado: Más allá de la revolución cognitiva. (J. C. Gómez Crespo y J. L. Linaza, Trads.). Madrid: Alianza.
Bruner, J. S. (2002/2003). La fábrica de historias: Derecho, literatura, vida. (L. P. López, Trad.). Buenos Aires: Fondo de Cultura Económica.
Cross, I. (2005). Music and meaning, ambiguity and evolution. En D. Miell, R. A. R. MacDonald, y D. J. Hargreaves (Eds.), Musical communication (pp. 27-43). Oxford: Oxford University Press on Demand.
Cross, I. (2010). La música en la cultura y la evolución. Epistemus. Revista de Estudios en Música, Cognición y Cultura, 1(1), 9-19. https://doi.org/10.21932/epistemus.1.2700.0
Davidson, J. W. (1993). Visual perception of performance manner in the movements of solo musicians. Psychology of Music, 21(2), 103-113. https://doi.org/10.1177/030573569302100201
De Jaegher, H. y Di Paolo, E. (2007). Participatory sense-making: An enactive approach to social cognition. Phenomenology and the Cognitive Sciences, 6(4), 485-507. https://doi.org/10.1007/s11097-007-9076-9
DeNora, T. (2000). Music in everyday life. Cambridge: Cambridge University Press.
Español, S. (2010). Performances en la infancia: Cuando el habla parece música, danza y poesía. Epistemus. Revista de Estudios en Música, Cognición y Cultura, 1(1), 57-95. https://doi.org/10.21932/epistemus.1.2702.0
Español, S. (Ed.). (2014). Psicología de la música y del desarrollo. Buenos Aires: Paidós.
Fludernik, M. (2009). An introduction to narratology. New York: Routledge.
Gabrielsson, A. y Juslin, P. N. (1996). Emotional expression in music performance: Between the performer’s intention and the listener’s experience. Psychology of Music, 24(1), 68-91. https://doi.org/10.1177/0305735696241007
Geeves, A. M., McIlwain, D. J. y Sutton, J. (2014). Seeing yellow: ‘Connection’ and routine in professional musicians’ experience of music performance. Psychology of Music, 44(2), 183-201. https://doi.org/10.1177/0305735614560841
Gennete, G. (1983/1998). Nuevo discurso del relato. (M. Rodríguez Tapia, Trad.). Madrid: Cátedra.
Goehr, L. (1992). The imaginary museum of musical works: An essay in the philosophy of music. Oxford: Clarendon Press.
Hevner, K. (1936). Experimental studies of the elements of expression in music. The American Journal of Psychology, 48(2), 246-268. https://doi.org/10.2307/1415746
Holmes, P. A. (2011). An exploration of musical communication through expressive use of timbre: The performer’s perspective. Psychology of Music, 40(3), 301-323. https://doi.org/10.1177/0305735610388898
Imberty, M. (1997). Peut-on parler sérieusement de narrativité en musique? En A. Gabrielson (Ed.), Proceedings of the 3rd Triennial Conference of European Society for the Cognitive Sciences of Music (ESCOM1997) (pp. 23-32). Uppsala: ESCOM.
Juslin, P. N. (2005). From mimesis to catharsis: Expression, perception and induction of emotion in music. En D. Miell, R. A. R. MacDonald, y D. J. Hargreaves (Eds.), Musical communication (pp. 85-115). Oxford: Oxford University Press.
Klein, M. L. (2013). Musical story. En M. L. Klein y N. Reyland (Eds.), Music and narrative since 1900 (pp. 3-28). Bloomington: Indiana University Press.
Lakoff, G. y Johnson, M. (1980/1986). Metáforas de la vida cotidiana. (C. G. Marín, Trad.). Madrid: Cátedra.
Malloch, S. (1999). Mothers and infants and communicative musicality. Musicæ Scientiæ, 3(1), 29-57. https://doi.org/10.1177/10298649000030S104
Malloch, S. y Trevarthen, C. (Eds.). (2009). Communicative musicality: Exploring the basis of human companionship. Oxford: Oxford University Press.
Martínez, I. C. (2007). La composicionalidad de la performance adulta en la parentalidad intuitiva. En P. Jacquier y A. Pereira Ghiena (Eds.), Actas de la VI Reunión de SACCoM, «Música y Bienestar Humano» (pp. 25-34). Buenos Aires: SACCoM - Sociedad Argentina para las Ciencias Cognitivas de la Música.
Maus, F E. (1988). Music as drama. Music Theory Spectrum, 10(1), 56-73. https://doi.org/10.1525/mts.1988.10.1.02a00050
Maus, F. E. (1991). Music as narrative. Indiana Theory Review, 12, 1-34.
Maus, F. E. (2005). Classical instrumental music and narrative. En J. Phelan y P. J. Rabinowitz (Eds.), A companion to narrative theory (pp. 466-483). Oxford: Blackwell Publishing.
Meelberg, V. (2006). New sounds, new stories: Narrativity in contemporary music. Leiden: Leiden University Press.
Miell, D., MacDonald, R. A. y Hargreaves, D. J. (Eds.). (2005). Musical communication. Oxford: Oxford University Press.
Nattiez, J.-J. (1990). Can one speak of narrativity in music? Journal of the Royal Musical Association, 115(2), 240-257.
Nattiez, J.-J. (2013). The narrativization of music. Music: Narrative or proto-narrative? Human & Social Studies. Research and Practice, 2(2), 61-86. https://doi.org/10.2478/hssr-2013-0004
Popova, Y. B. (2014). Narrativity and enaction: The social nature of literary narrative understanding. Frontiers in Psychology, 5. https://doi.org/10.3389/fpsyg.2014.00895
Popova, Y. B. (2015). Stories, meaning, and experience: Narrativity and enaction. New York/Abingdon: Routledge.
Rink, J. (1994). Chopin’s ballades and the dialectic: Analysis in historical perspective. Music Analysis, 13(1), 99-115. https://doi.org/10.2307/854282
Rink, J. (1999). Translating musical meaning: The nineteenth-century performer as narrator. En N. Cook y M. Everist (Eds.), Rethinking music (pp. 217-238). Oxford: Oxford University Press.
Scherer, K. R. y Oshinsky, J. S. (1977). Cue utilization in emotion attribution from auditory stimuli. Motivation and Emotion, 1(4), 331-346. https://doi.org/10.1007/BF00992539
Schmidt, C. (2004). The analysis of semi-structured interviews. En U. Flick, E. von Kardoff, y I. Steinke (Eds.), A companion to qualitative research (pp. 253–258). Londres: Sage.
Shannon, C. E. y Weaver, W. (1949). The mathematical theory of communication. Illinois: Urbana.
Shifres, F. (2007). Beyond cognitivism. Alternative perspectives on the communication of musical structure through performance (tesis doctoral inédita). University of Roehampton, Londres.
Sloboda, J. A. y Toelle, J. (2018). The audience as performer: Examining the effect of new music written for audience participation. En R. Parncutt y S. Sattmann (Eds.), Proceedings of the 15th International Conference on Music Perception and Cognition (ICMPC) and the 10th Triennial Conference of the European Society for the Cognitive Sciences of Music (ESCOM) (p. 329). La Plata/Motreal/Syndey/Graz: Centre for Systematic Musicology.
Small, C. (1998). Musicking: The meanings of performing and listening. Hanover/Londres: Wesleyan University Press.
Talbot, M. (2000). The work-concept and composer-centredness. En M. Talbot (Ed.), The musical work: reality or invention? (pp. 168-186). Liverpool: Liverpool University Press.
Terasti, E. (1994). A theory of musical semiotics. Bloomington/Indianapolis: Indiana University Press.
Van Zijl, A. G. W. y Sloboda, J. (2011). Performers’ experienced emotions in the construction of expressive musical performance: An exploratory investigation. Psychology of Music, 39(2), 196-219. https://doi.org/10.1177/0305735610373563
Acero, J. J. y Villanueva, N. (2012). Wittgenstein y la intencionalidad de lo mental. Análisis Filosófico, 32(2), 117-155.
Almén, B. (2008). A theory of musical narrative. Bloomington: Indiana University Press.
Brand, G., Sloboda, J., Saul, B. y Hathaway, M. (2012). The reciprocal relationship between jazz musicians and audiences in live performances: A pilot qualitative study. Psychology of Music, 40(5), 634-651. https://doi.org/10.1177/0305735612448509
Bruner, J. S. (1986/2004). Realidad mental y mundos posibles: Los actos de la imaginación que dan sentido a la experiencia. (B. López, TraD.). Barcelona: Gedisa.
Bruner, J. S. (1990/1991). Actos de significado: Más allá de la revolución cognitiva. (J. C. Gómez Crespo y J. L. Linaza, Trads.). Madrid: Alianza.
Bruner, J. S. (2002/2003). La fábrica de historias: Derecho, literatura, vida. (L. P. López, Trad.). Buenos Aires: Fondo de Cultura Económica.
Cross, I. (2005). Music and meaning, ambiguity and evolution. En D. Miell, R. A. R. MacDonald, y D. J. Hargreaves (Eds.), Musical communication (pp. 27-43). Oxford: Oxford University Press on Demand.
Cross, I. (2010). La música en la cultura y la evolución. Epistemus. Revista de Estudios en Música, Cognición y Cultura, 1(1), 9-19. https://doi.org/10.21932/epistemus.1.2700.0
Davidson, J. W. (1993). Visual perception of performance manner in the movements of solo musicians. Psychology of Music, 21(2), 103-113. https://doi.org/10.1177/030573569302100201
De Jaegher, H. y Di Paolo, E. (2007). Participatory sense-making: An enactive approach to social cognition. Phenomenology and the Cognitive Sciences, 6(4), 485-507. https://doi.org/10.1007/s11097-007-9076-9
DeNora, T. (2000). Music in everyday life. Cambridge: Cambridge University Press.
Español, S. (2010). Performances en la infancia: Cuando el habla parece música, danza y poesía. Epistemus. Revista de Estudios en Música, Cognición y Cultura, 1(1), 57-95. https://doi.org/10.21932/epistemus.1.2702.0
Español, S. (Ed.). (2014). Psicología de la música y del desarrollo. Buenos Aires: Paidós.
Fludernik, M. (2009). An introduction to narratology. New York: Routledge.
Gabrielsson, A. y Juslin, P. N. (1996). Emotional expression in music performance: Between the performer’s intention and the listener’s experience. Psychology of Music, 24(1), 68-91. https://doi.org/10.1177/0305735696241007
Geeves, A. M., McIlwain, D. J. y Sutton, J. (2014). Seeing yellow: ‘Connection’ and routine in professional musicians’ experience of music performance. Psychology of Music, 44(2), 183-201. https://doi.org/10.1177/0305735614560841
Gennete, G. (1983/1998). Nuevo discurso del relato. (M. Rodríguez Tapia, Trad.). Madrid: Cátedra.
Goehr, L. (1992). The imaginary museum of musical works: An essay in the philosophy of music. Oxford: Clarendon Press.
Hevner, K. (1936). Experimental studies of the elements of expression in music. The American Journal of Psychology, 48(2), 246-268. https://doi.org/10.2307/1415746
Holmes, P. A. (2011). An exploration of musical communication through expressive use of timbre: The performer’s perspective. Psychology of Music, 40(3), 301-323. https://doi.org/10.1177/0305735610388898
Imberty, M. (1997). Peut-on parler sérieusement de narrativité en musique? En A. Gabrielson (Ed.), Proceedings of the 3rd Triennial Conference of European Society for the Cognitive Sciences of Music (ESCOM1997) (pp. 23-32). Uppsala: ESCOM.
Juslin, P. N. (2005). From mimesis to catharsis: Expression, perception and induction of emotion in music. En D. Miell, R. A. R. MacDonald, y D. J. Hargreaves (Eds.), Musical communication (pp. 85-115). Oxford: Oxford University Press.
Klein, M. L. (2013). Musical story. En M. L. Klein y N. Reyland (Eds.), Music and narrative since 1900 (pp. 3-28). Bloomington: Indiana University Press.
Lakoff, G. y Johnson, M. (1980/1986). Metáforas de la vida cotidiana. (C. G. Marín, Trad.). Madrid: Cátedra.
Malloch, S. (1999). Mothers and infants and communicative musicality. Musicæ Scientiæ, 3(1), 29-57. https://doi.org/10.1177/10298649000030S104
Malloch, S. y Trevarthen, C. (Eds.). (2009). Communicative musicality: Exploring the basis of human companionship. Oxford: Oxford University Press.
Martínez, I. C. (2007). La composicionalidad de la performance adulta en la parentalidad intuitiva. En P. Jacquier y A. Pereira Ghiena (Eds.), Actas de la VI Reunión de SACCoM, «Música y Bienestar Humano» (pp. 25-34). Buenos Aires: SACCoM - Sociedad Argentina para las Ciencias Cognitivas de la Música.
Maus, F E. (1988). Music as drama. Music Theory Spectrum, 10(1), 56-73. https://doi.org/10.1525/mts.1988.10.1.02a00050
Maus, F. E. (1991). Music as narrative. Indiana Theory Review, 12, 1-34.
Maus, F. E. (2005). Classical instrumental music and narrative. En J. Phelan y P. J. Rabinowitz (Eds.), A companion to narrative theory (pp. 466-483). Oxford: Blackwell Publishing.
Meelberg, V. (2006). New sounds, new stories: Narrativity in contemporary music. Leiden: Leiden University Press.
Miell, D., MacDonald, R. A. y Hargreaves, D. J. (Eds.). (2005). Musical communication. Oxford: Oxford University Press.
Nattiez, J.-J. (1990). Can one speak of narrativity in music? Journal of the Royal Musical Association, 115(2), 240-257.
Nattiez, J.-J. (2013). The narrativization of music. Music: Narrative or proto-narrative? Human & Social Studies. Research and Practice, 2(2), 61-86. https://doi.org/10.2478/hssr-2013-0004
Popova, Y. B. (2014). Narrativity and enaction: The social nature of literary narrative understanding. Frontiers in Psychology, 5. https://doi.org/10.3389/fpsyg.2014.00895
Popova, Y. B. (2015). Stories, meaning, and experience: Narrativity and enaction. New York/Abingdon: Routledge.
Rink, J. (1994). Chopin’s ballades and the dialectic: Analysis in historical perspective. Music Analysis, 13(1), 99-115. https://doi.org/10.2307/854282
Rink, J. (1999). Translating musical meaning: The nineteenth-century performer as narrator. En N. Cook y M. Everist (Eds.), Rethinking music (pp. 217-238). Oxford: Oxford University Press.
Scherer, K. R. y Oshinsky, J. S. (1977). Cue utilization in emotion attribution from auditory stimuli. Motivation and Emotion, 1(4), 331-346. https://doi.org/10.1007/BF00992539
Schmidt, C. (2004). The analysis of semi-structured interviews. En U. Flick, E. von Kardoff, y I. Steinke (Eds.), A companion to qualitative research (pp. 253–258). Londres: Sage.
Shannon, C. E. y Weaver, W. (1949). The mathematical theory of communication. Illinois: Urbana.
Shifres, F. (2007). Beyond cognitivism. Alternative perspectives on the communication of musical structure through performance (tesis doctoral inédita). University of Roehampton, Londres.
Sloboda, J. A. y Toelle, J. (2018). The audience as performer: Examining the effect of new music written for audience participation. En R. Parncutt y S. Sattmann (Eds.), Proceedings of the 15th International Conference on Music Perception and Cognition (ICMPC) and the 10th Triennial Conference of the European Society for the Cognitive Sciences of Music (ESCOM) (p. 329). La Plata/Motreal/Syndey/Graz: Centre for Systematic Musicology.
Small, C. (1998). Musicking: The meanings of performing and listening. Hanover/Londres: Wesleyan University Press.
Talbot, M. (2000). The work-concept and composer-centredness. En M. Talbot (Ed.), The musical work: reality or invention? (pp. 168-186). Liverpool: Liverpool University Press.
Terasti, E. (1994). A theory of musical semiotics. Bloomington/Indianapolis: Indiana University Press.
Van Zijl, A. G. W. y Sloboda, J. (2011). Performers’ experienced emotions in the construction of expressive musical performance: An exploratory investigation. Psychology of Music, 39(2), 196-219. https://doi.org/10.1177/0305735610373563
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Publicado
2018-12-28
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Tanco, M. G. (2018). A comunicação entre artistas e público no desempenho da música acadêmica. Jornal De Psicologia, 17(2), 22–44. https://doi.org/10.24215/2422572Xe020
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