Memorial de composición de Lola y Descalzos
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Data
2018-12-14
Autores
Espinoza Romero, Ronal Xavier
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Este trabajo presenta un discurso auto-etnográfico, el cual propone comunicar los diversos elementos tanto subjetivos como objetivos dentro de la creación musical del cuarteto de cuerdas Lola y la pieza para guitarra sola Descalzos. A su vez, busca interpretarlos, a la luz de las referencias de la psicología de la música (MEYER, 2001 y SEKEFF, 2009) y describiendo la importancia de significar tales acontecimientos en relación a las emociones inmersas dentro de las piezas musicales aquí presentadas, ya que estas, corresponden intrínsecamente a las motivaciones emocionales simbólicas (SCHAFER,2001) que influyeron en la composición de estas obras. El conseguir exponer los aspectos subjetivos de los significantes dentro de la música de forma poética, resulta en intimar textualmente con el inconsciente relacionado con la música, y sobre todo; al tratarse de arte, el camino que considero el más propicio para alcanzar comunicar su mensaje, es por medio de otro medio artístico, es decir, que el trabajar textualmente dentro de la estética poética, los intersticios por los cuales podrían escapar ciertas nociones de interpretación adyacentes a la construcción musical, quedan justificadas entre homónimos artísticos. Por tal motivo, para consolidar un mensaje que posiblemente no quede claro para personas ajenas al lenguaje música, también discutir mis argumentos por medio del psicoanálisis y la literatura, tienden a esclarecer el dialogo que el lenguaje musical intenta transmitir.
This work presents a self-ethnographic discourse, which proposes to communicate the various subjective and objective elements within the musical creation of the Lola string quartet and the piece for classic guitar Descalzos. At the same time, it seeks to interpret them, in the light of the references of the psychology of music (MEYER, 2001 and SEKEFF, 2009) and describing the importance of meaning such events in relation to the emotions immersed within the musical pieces presented here, since these, intrinsically correspond to the symbolic emotional motivations (SCHAFER, 2001) that influenced the composition of these works. The attempt to expose the subjective aspects of the signifiers within the music in a poetic way, results in intimacy with the unconscious textually related to music, and above all; in the case of art, the path that I consider the most propitious to achieve communicating its message, is through another artistic medium, that is, to work textually within the poetic aesthetic, the interstices through which certain notions of interpretation could escape adjacent to the musical construction, they are justified between artistic homonyms. For this reason, to consolidate a message that may not be clear to people outside the music language, I also discuss my arguments through psychoanalysis and literature, tending to clarify the dialogue that the musical language tries to convey
This work presents a self-ethnographic discourse, which proposes to communicate the various subjective and objective elements within the musical creation of the Lola string quartet and the piece for classic guitar Descalzos. At the same time, it seeks to interpret them, in the light of the references of the psychology of music (MEYER, 2001 and SEKEFF, 2009) and describing the importance of meaning such events in relation to the emotions immersed within the musical pieces presented here, since these, intrinsically correspond to the symbolic emotional motivations (SCHAFER, 2001) that influenced the composition of these works. The attempt to expose the subjective aspects of the signifiers within the music in a poetic way, results in intimacy with the unconscious textually related to music, and above all; in the case of art, the path that I consider the most propitious to achieve communicating its message, is through another artistic medium, that is, to work textually within the poetic aesthetic, the interstices through which certain notions of interpretation could escape adjacent to the musical construction, they are justified between artistic homonyms. For this reason, to consolidate a message that may not be clear to people outside the music language, I also discuss my arguments through psychoanalysis and literature, tending to clarify the dialogue that the musical language tries to convey
Abstract
Descrição
Trabajo de Conclusión de Curso presentado al Instituto
Latino-Americano de Arte, Cultura e Historia de la
Universidad Federal de la Integración Latino-Americana,
como requisito parcial a la obtención del título de
Licenciatura en música-énfasis em creación musical
Orientador: Prof. Dr. Marcelo Villena
Palavras-chave
Discurso auto-etnográfico, Psicoanálisis y la literatura
Citação
ESPINOZA ROMERO, Ronal Xavier. Memorial de composición de Lola y Descalzos. 2018. 89 f. Trabajo de
Conclusión de Curso (Música-énfasis en creación musical) – Universidad Federal de la Integración
Latino-Americana, Foz do Iguaçu, 2018