Aenigma musicum dialogikōs: entre o mito da ordem, os ritos do progresso e os jogos de de-composição

• Ano de defesa: 2019
• Autor(a) principal: Vaz, Henrique Maia Lins
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal da Paraíba; Brasil; Música; Programa de Pós-Graduação em Música; UFPB
• Palavras-chave em Português: Música; Filosofia musical; Escrita musical; Cartografia musical; Music; Musical philosophy; Musical writing; Musical cartography; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA
• Link de acesso: https://repositorio.ufpb.br/jspui/handle/123456789/26498

Religious and secular, political and economic, individual and collective, erotic and puritanical, from the delight of the "creator" to the purely spectator's joy of, from the disinterested pleasure to a radical critique: is "composing" the most prodigious creation of forms and crystals of intellect and sensibility? Is it an art, a "distraction", a science, fēsta, an universals encrypted mode of communication, a dialectical confrontation with the course of time, a rational "use" of the sonorus? "Pure theory", a mode of social expression, prayer and commerce, is it a sovereign sovereignty of a creative operation? Does the "economics" (οἰκονομία) of composition herald that of "donation" (dōnātiō)? Enigma! "L'art est partout puisque l'artifice est au coeur de la réalité"... The "liturgy" as a metaphor for ritual sacrifice; the "minstrel" that announces the feudal world, the "concert" that precedes the bourgeois takeover, the "recording" that annunciates the "consumer society", the mp3 and the "virtual music" imbricated in judicializations of the "use" announcing the victory of a cultural capitalism..., the difficult musical relationship between indigenous people and Jesuits that heralds centuries of decimation, whether fostered through a hymnal corpus or via public treasury. Yesterday as today music heralds the world of tomorrow... At the crossroads between "translation" and "power", a "modernity" is initiated by a "re-encounter": the "colonial shock" or the superposition of the colonizer's language on the "colonized fabric", tearing and mending its wholeness to the point of disfigurement of what was there: metamorphosis of the living touched by the colonizer verb encapsulated in the patronymy compilation of names and their affiliations, names we watch and by them we are watched over... Remains of narrative murders display a language that traces an "absence"..., a language of no-body in a "belonging" that is always "displaced" as ruins and epitaphs of such (re)contact whose location not occurs without cutting the flesh – from the colonial investiture to the emergence of bodies in instances of domestication: the body-terrified by "sin", the body-enslaved by precariousness, subjugated by the "debt", the body-brutalized by the demanded virility, the body-subservient by the reproduction of women, the body-docile that abuses obedience, the glorious body in the spectacle of consumption..., the body-of-themusician that officiates a "praxis" in search of a lost "musicality"... Amongst spoils, rubble and looting of ways of life, the narrative of the vanquished exposes the victors beyond the recollection of their foundations in muskets and holocausts: how long will the catholic America, all the more neo-pentecostal, need "tyrannies" of the disappearance of the other and "divinely providential governments" in a purely penitentiary form that run through the "hell of the same" under financial laws? To the (de)colonial criticisms, this thesis is in consonance... To the sociotechnical impact of digital information, to the politicization of techno-logies, to the crisis of the subject of law raised by the economy, to the re-edition of the "human" under the regimes of virtualization of biodiversity in a "new eugenics", to the mirrored thresholds of the anthropological machine in the ingenuity of the anthropomorphic animal and facing the algorithmic-genetic colonization of mechanized life summarized in museologized prescriptions of conduct, this thesis proposes a cartography, a dialogism. Faced with a solipsist reception of the "work of art", other aggregators centers of difference hoist itself and put on an alternative agenda contemplating the "beauty" of being-together, the "in common" (κοινός) and the "with/accompanied by" that puts us in front of each other, entrusts us to each other, risks us and together gives us the experience that is nothing other than "being-with": "experience of the beaty" as much as an "lived experience of community", not a scientific "revelation" or a moral affinity whose pleasure is based on identity, but a "feeling good" with others in the "contemplation", in the "appreciation of the invention", in the meditation of the "artificial", not as useful, or as good, or as the most true, but as "beauty" (not a inflationary mode exercised in the cult, nor what constitutes the aesthetic of capital or the culinary taste of the "like"): from the shared incompleteness, an abundance flourish... This thesis welcomes those who "love", those who "take care" that others "take care of themselves" (ἐπιμέλεια ἑαυτοῦ) in order to take good care of the "city"... With all the risks of a collapse within words, this thesis evokes the spirit of an "atlas" (ἁ-τλᾱς, alpha copulativum and ἔτλην, relative of τᾰ́λαντον which is "balance" and "talent": "copulation of talents and balances") of what had been manifested and made present during the teaching internship where an uncertain "gambiology" made its gesture of resistance whether while lutherie, a corporal "ethics", or in the "scripture" of compositional times and spaces of a "score-poem"; in the "topicalism" of this thesis rest the concerns and problems shared in community which crystallization underlines/contemplates a phonographic record of "bodies that sound" and are sung or "found" in the "use" shackled in the clandestine nature of each existence: sound in the body, with the body, from the body and through the body, not only the space that contains the body and defines it, but the body that build and define the space: no longer the silent and discreet "trying to avoid the glaring evidence" of a presence in order not to disturb, body not as a mechanical object of classical mechanics, but beyond the aspect of instrumentality: "body as the most accentuated spatialization of time"... This thesis/composition brings the voices of the "field", between the forge and the story, a "testimonial" and an "investigation" that dances around a question intonated during the teaching internship by the community: "what does creating serve me for? In the name of what we create?"... The itinerary of this thesis is not that of the answer in the order of the speech, but of that "fermented questions" with other questions pregnant of questions...