Musical performance as a perspective of Schenker’s theoretical-analytical proposa

Authors

DOI:

https://doi.org/10.5965/2525530406032021199

Keywords:

Musical parameters, Multilevel graph, Musical Analysis and Performance, Heinrich Schenker, Neo-Shenkerian

Abstract

Performance experience is the perspective of this article’s discourse, which starts from the contextualization of Schenker’s first two phases, based on the publications Die Kunst des Vortrags (“The art of performance”), Der Tonwille (“Contextual Music Analysis”) and Das Meisterwerke in der Musik (“The masterpieces of music”). Contextualized by a discussion about his theoretical-analytical influence and conception of performance in studies related to the Analysis and Musical Performance subarea, it identifies links between structure and expressiveness in Schenker and neo-schenkerian theorists’ analyses. It demonstrates how the perception of the interlocution between metrical events and voice leading served as basis for sound modelling issues in studies elaborated by Charles Burkhart, Steve Larson, Carl Schachter and David Beach. This work does not fail to consider the strongly prescriptive aspects present in these proposals, but seeks to study them from current research perspectives.

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Author Biographies

Renata Coutinho de Barros Correia, Universidade de São Paulo

É doutora em Musicologia (Área de concentração: Teoria e Análise Musical) e mestra em Artes (Musicologia) pela Escola de Comunicações e Artes da Universidade de São Paulo (USP). Sob a supervisão da professora Dra. Adriana Lopes da Cunha Moreira (USP/ECA) e do professor Dr. Jeffrey Swinkin (Universidade de Oklahoma/Norman) desenvolveu a tese intitulada “Análise e performance musical: perspectivas de pesquisa, influências mútuas e abordagem crítica”, que trata sobre o desenvolvimento do domínio de estudos da análise e performance musical, apresentando estudo baseado na interlocução entre performer e teórico schenkeriano. Tem colaborado com publicações em eventos científicos com temas relacionados à análise musical, produção acadêmica em performance musical/práticas interpretativas e estudos em análise e performance musical. Tem se dedicado à apresentação de palestras, atividade docente e atuação como pianista colaboradora. É integrante do  rupo de pesquisa TRAMA (Teoria e Análise Musical), que conta com a colaboração de pesquisadores da Escola de Comunicações e Artes (ECA) da Universidade de São Paulo.

Adriana Lopes da Cunha Moreira, Escola de Comunicações e Artes da Universidade de São Paulo

É livre-docente, professora doutora associada no Departamento de Música (CMU) da Escola de Comunicações e Artes (ECA) da Universidade de São Paulo (USP, 2004-) e no Programa de Pós Graduação em Música da ECA-USP (2010-). É coordenadora da Graduação do CMU (2017-2021) e do Grupo de Pesquisa TRAMA: Teoria e Análise Musical (ECA e CNPq, 2015-). É cocoordenadora do Laboratório de Percepção, História, Estética e Análise Musical (CMU, 2008-) e dos Encontros Internacionais de Teoria e Analise Musical, EITAM (2009-). Foi editora-chefe de publicações da ANPPOM (2011-2015), que englobam a revista OPUS (Qualis-CAPES A1), a série Pesquisa em Música no Brasil e a  coordenação científica dos congressos anuais.

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Published

2021-10-14

How to Cite

CORREIA, Renata Coutinho de Barros; MOREIRA, Adriana Lopes da Cunha. Musical performance as a perspective of Schenker’s theoretical-analytical proposa. Orfeu, Florianópolis, v. 6, n. 3, 2021. DOI: 10.5965/2525530406032021199. Disponível em: https://revistas.udesc.br/index.php/orfeu/article/view/20575. Acesso em: 27 jul. 2024.

Issue

Vol. 6 No. 3 (2021): Special Issue on Schenkerian Analysis

Section

Special Issue

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Copyright (c) 2021 Renata Coutinho de Barros Correia, Adriana Lopes da Cunha Moreira

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