Writing for pedal harp: cognitive aspects
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Data
2020-08-17
Autores
Hadassah, Myriam
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Universidade Estadual Paulista (Unesp)
Resumo
O presente trabalho busca desenvolver pesquisa sobre o processo neurocognitivo da escrita musical para harpa de pedal. Devido a algumas peculiaridades do instrumento, constatou-se pouco repertório para harpa, contando com grande número de transcrições de peças de teclado e obras não idiomáticas para o instrumento. Diante deste pressuposto, procurou-se conhecer o processo neurocognitivo humano aplicado a percepção para composição musical na harpa. No intuito de contribuir para a coleta de dados sobre o processo de percepção da composição para harpa, a pesquisa foi feita com levantamento bibliográfico e literatura das áreas pesquisadas. Aborda a neurociência cognitiva e musical, para se compreender as representações musicais da notação musical implícitas, com referência a tratados orquestrais e literatura da harpa de pedal. A pesquisa encontrou evidências de formas e padrões similares em três peças consideradas obras primas para o instrumento: Pierné (1901), Ravel (1905) e Villa-Lobos (1953). Foram encontrados desenhos musicais similares no desenvolvimento artístico musical das três obras, estruturas das mãos similares em formas pré-determinadas, e uma percepção implícita (aspectos cognitivos) para o uso dos pedais da harpa (aspectos explícitos - tratados de orquestração e literatura para harpa de pedal).
This work aims to develop research on the neurocognitive process of writing for pedal harp. Due to some peculiarities of the instrument, there is a little repertoire for harp, prevailing a large number of keyboard transcriptions and not idiomatic works for the instrument. Given this assumption, we sought to know the human neurocognitive process applied to perception for musical harp composition. In order to contribute to data collecting about the process of perception, the research was made with bibliographic survey and literature of the researched areas. It approaches the cognitive and musical neuroscience, to understand the musical representations of the musical notation with reference to orchestral treatises and pedal harp literature. The research found similar forms and patterns in three works considered masterpieces for the instrument: Pierné (1901), Ravel (1905) and Villa-Lobos (1953). Similar musical designs were found in the musical development of the three works, hand structures in predetermined forms and an implicit perception (cognitive aspects) for the use of harp pedals (explicit aspects - orchestration treatises and pedal harp literature).
This work aims to develop research on the neurocognitive process of writing for pedal harp. Due to some peculiarities of the instrument, there is a little repertoire for harp, prevailing a large number of keyboard transcriptions and not idiomatic works for the instrument. Given this assumption, we sought to know the human neurocognitive process applied to perception for musical harp composition. In order to contribute to data collecting about the process of perception, the research was made with bibliographic survey and literature of the researched areas. It approaches the cognitive and musical neuroscience, to understand the musical representations of the musical notation with reference to orchestral treatises and pedal harp literature. The research found similar forms and patterns in three works considered masterpieces for the instrument: Pierné (1901), Ravel (1905) and Villa-Lobos (1953). Similar musical designs were found in the musical development of the three works, hand structures in predetermined forms and an implicit perception (cognitive aspects) for the use of harp pedals (explicit aspects - orchestration treatises and pedal harp literature).
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Palavras-chave
Música para harpa, Música - Instrução e estudo, Neurociência cognitiva, Pierné, Gabriel,1863-1937, Ravel, Maurice, 1875-1937, Villa-Lobos, Heitor, 1887-1959, Harpa de pedal, Cognição musical, Pedal harp, Musical cognition