A Sinestesia e a construção de significação musical

• Ano de defesa: 2008
• Autor(a) principal: Guilherme Francisco Furtado Braganca
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Estesia; Sinestesia; musical; Significação musical; Poiética; Análise; Sentidos e sensações Música; Sinestesia na arte
• Link de acesso: http://hdl.handle.net/1843/AAGS-7XPHVT

This thesis investigates the relationship between the synaesthesy and the musical meaning, analysing how the transpositions of sensations works in extrinsics references to the musical structures. We Verifie how we can find signs of the action of the synasethesy into the three dimensions from the symbolic object defined by Nattiez/Molino: poietic, neuter and estesic dimensions. We define and differentiate the concepts of sensation, perception and synaesthesy, also examining the relationship between synaesthesy as neurological condition andsynaesthesic metaphor. We investigate the synaesthesy as a way of listening, proposing a conscious synaesthesic listening, which would add to the form of listening from estilistics expectations, proposed by Leonard Meyer. To illustrate that listening, we do a description of Baku-Pari synaesthesic listening, a music composed by Guilherme Nascimento. We make an analysis of the relationship between the elements found in the synaesthesic listening and the musicalstructures of the work, trying to establish points of intersection between the neuter and estesic levels. In interview with the composer, we try to identify synaesthesics elements in the speech about his creative process. We also verifie if lay listeners, participants of amateur choirs, use synaesthesics references in the description of their music listening and if there is convergence in the perceived synaesthesies, or to which extent the synaesthesies are shared or they are subjective.