Processos de criação da interpretação vocal em rede

Detalhes bibliográficos
Ano de defesa: 2012
Autor(a) principal: Tragtenberg, Lucila Romano lattes
Orientador(a): Salles, Cecilia Almeida
Banca de defesa: Não Informado pela instituição
Tipo de documento: Tese
Tipo de acesso: Acesso aberto
Idioma: por
Instituição de defesa: Pontifícia Universidade Católica de São Paulo
Programa de Pós-Graduação: Programa de Estudos Pós-Graduados em Comunicação e Semiótica
Departamento: Comunicação
País: BR
Palavras-chave em Português:
Palavras-chave em Inglês:
Área do conhecimento CNPq:
Link de acesso: https://tede2.pucsp.br/handle/handle/4491
Resumo: The creation processes of interpretation performed by singers-performers within the Western classical music constitute the subject of this work. We investigated the hypothesis that their work has the dimension of creation as transcreation being constituted by it in instances of relational communication as well, we address the problem of its theoretical and methodological description and interpretation. We aimed to highlight aspects of those significant theoretical and critical processes, their connections to create relational networks. The process of creating the vocal interpretation are incommunicable, restricted to only those who develops, associated to the idea of musical performance that does not include the aspect of creation. This thesis aims to contribute in reversing this situation increasing the methodological bias that in musicology, has privileged hearing recordings and also increase knowledge about these processes, configuring the vocal Interpretation in their processuality creative networks. The methodology and theoretical framework taken as support in the Critical Process Networks and Creation in the work of Cecilia Salles, were called to the dialogue with aspects of Peirce's theory of perception, the concept of the biosemiotics Umwelt developed by J. Von Uexküll and Vincent Colapietro on semiotic self. Urged still on reciprocity as relational instance, were still connected the concepts of miscegenation or mestizaje in the work of Amalio Pinheiro, Laplantine & Nouss and aspects of the theory of ecological perception of James Gibson. Creation and transcreation yet been discussed in connection to the work of Haroldo de Campos. The material obtained in interviews with the sopranos Adelia Issa, Rosana Lamosa, Ruth Staerke, the tenor Fernando Portari and the bass-baritone Licio Bruno, performers-singers active in Brazil and international musical circle, were developed to describe and analyze theoretical and critical job creation procedural performers-singers, systematizing instances of their creative processes. The perceptual dimension of sensation was evident recurrently correlated to the instance chamber music referenced in vocal and scenic subtleties