Resumo: este artigo investiga a natureza das partituras musicais e o seu papel na comunicação entre compositor e intérprete. Amarrada pela narrativa da revisão de uma antiga partitura problemática, a investigação parte da ênfase dada por Derrida (1982) à ausência no fenômeno da escrita e do conceito de Leitor Modelo de Eco (1979), e sublinha a importância da improvisação no processo criativo e seu impacto no ato da escrita, introduzindo uma noção de hermenêutica a partir da distinção de Barthes (1977) entre Obra e Texto, do conceito de desapropriação poética de Bloom (1975) e da teoria dos atos de fala de Austin (1962), que é utilizada para trabalhar um modelo interpretativo tripartido. Segue-se uma discussão sobre a natureza puramente abstrata de uma composição e os obstáculos envolvidos na transcrição de performances. Durante o curso das discussões, a teoria investigada engendra doze diretrizes para a preparação eficaz de partituras musicais.
An indisputable cornerstone of the Western music tradition, the dialectic opposition between the major and minor grammatical modal genders has always been present in the imagination of musicians and music theorists for centuries. Such dialectics of opposition is especially important in the context of nineteenth-century harmonic dualism, with its ideas of tonicity and phonicity. These concepts serve as the main foundation for the way harmonic dualism conceives the major and minor worlds: two worlds with equivalent rights and properties, but with opposed polarities. This paper presents a redefinition of the terms tonicity and phonicity, translating those concepts to the context of post-tonal music theory. The terminologies of generatrix, tonicity, root, phonicity, vertex, and azimuth are explained in this paper, followed by propositions of mathematical models for those concepts, which spring from Richard Parncutt's root-salience model for pitch-class sets. In order to demonstrate the possibilities of using modal gender as a criterion for the study and classification of the universe of Tn-types, we will present a taxonomy of the 351 transpositional set types, which comprises the categories of tonic (major), phonic (minor) and neutral (genderless). In addition, there will be a small discussion on the effect of set symmetries and set asymmetries on the tonic/phonic properties of a Tn-type.
In the context of a preview of central topics taken from a larger research work, this article presents and explains a proposition of a functional analytical symbology which is currently being developed as a tool for the structural harmonic analysis of tonal music. This symbology constitutes a key component for a proposal of an analytical methodology for 19th"‘century extended tonality, which is the core of the aforementioned larger research work. Based on a critical revision of the history of music theory and analysis, this methodology is mainly the result of the recasting and the amplification of thoughts and concepts developed by 19th"‘century theorists such as Hugo Riemann and Arthur von Oettingen. The article introduces the proposed analytical symbology through a comparison to its historical counterparts, and it also highlights the ability of the proposed symbols to graph the harmonic language of 19th"‘century extended tonality by means of a few analytical examples.
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