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Anexo 01
RESUMO: Discussão baseada em textos dos autores Cone (1981), Taruskin (1982),
Walls (2003) e Monelle (2003) acerca da crítica musical e da performance, o papel
do crítico musical e do intérprete e a interpretação “autêntica” e informada. Diálogo
em torno da objetividade e subjetividade no estudo de uma obra musical e a partitura
e análise como suporte ao intérprete.
INTRODUÇÃO
Anexo 01
1
“Clearly, the sharp decline in the performance of contemporary music has led critics to concentrate
on performing artists(...)” Todas as traduções encontradas neste artigo foram realizadas pelo autor.
2
“(...) his opinions will be authoritative only to men like himself.”
3
“(...) the critic is na informed music-lover writing for other music-lovers.”
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Anexo 01
4
“The critic (...) is a teacher of appreciation at the highest level.”
5
“The critic evaluates not only the performer´s conception but also his realization of that conception:
his execution.”
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Anexo 01
6
“Every good performer is necessarily a kind of critic.”
7
“(...) any serious criticism of a performance is at the same time a criticism of the work.”
8
“It is part of the critic´s job to help the listener consider the work in such ways as to enable him to
perceive it directly for himself, independently of any interpreter.”
9
“(…) process of realizing a musical work in sound (…).”
10
“(...) the experience gained by close study of the work at hand.”
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Anexo 01
A partitura e a análise
11
“Most of the time the Idea of letting the music speak for itself implies hostility, or at least mistrust of
performers.”
12
“Surely the composer´s perception of his own work, his conception of its performance, is the
uniquely authoritative standard.”
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Anexo 01
13
“The score is the ultimate source of all our perceptions, but it is the perceived composition that is the
object of a critical and interpretative thought.”
14
“All written music needs ´interpretation´ (…) and, just as with a foreign language, expertise in being
able to read the music is a prerequisite for doing this.”
15
“Perception in this context means, of course, not the physical act of hearing the work, but the way
one hears it, in actuality or in imagination.”
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Anexo 01
Por si só, a análise pode não suportar todos os detalhes da música, como
também pode passar uma imagem errônea da obra àquele que ignora suas
peculiaridades. O cuidado na abordagem analítica é de bom grado, e deve-se evitar
analisar uma obra somente com os olhares intelectuais (algumas vezes superficiais)
repletos de significações teóricas, que podem deixar de lado a música e o evento
sonoro.
Conclusão
REFERÊNCIAS
Anexo 01
WALLS, P. Historical performance and the modern performer. IN: RINK, J. Musical
Performance: A Guide to Understanding, pág. 17-34. Cambridge: Cambridge
University Press, 2003.