O atonalismo serial:

uma reavaliação crítica.

  • António Lopes Universidade de Lisboa

Abstract

Apesar do atonalismo serial ter há algum tempo perdido o seu protagonismo como estilo musical, críticas e defesas do mesmo têm surgido periodicamente na literatura filosófica recente. Neste ensaio, após sintetizar os desafios à cognição do atonalismo serial colocados pelos avanços da psicologia da música, reúno as principais das referidas críticas e apologias, e, com uma série de argumentos próprios, ofereço uma apreciação do estado da discussão que alinha claramente do lado dos críticos do idioma serial.

Downloads

Download data is not yet available.

References

BALL, P. “Schoenberg, Serialism and Cognition: Whose Fault if No One Listens?". Interdisciplinary Science Reviews 36 (1) March 2011.

CAVELL, S. 1977. “Music Discomposed”,in Must We Mean What We Say? Cambridge: Cambridge University. 180-212 (orig.1969).

CROFT, J.Musical memory, complexity, and Lerdahl’s cognitive constraints, MA Diss.U. Sheffield,ac. 1/1072016 at http://johncroft.eu/Memory_complexity.pdf.

DEUTSCH, D. 1972. “Octave Generalization and Tune Recognition.” Perception and Psychophysics11(6): 411–12.

GIBSON, D. 1986. “The Aural Perception of Nontraditional Chords in Selected Theoretical Relationships: A Computer-Generated Experiment.” Journal of Research in Music Education 34(1):5–23.

HORN, W. 2016. “Tonality, Musical Form, and Aesthetic Value.” Perspectives of New Music 53.

HURON, D. & von Hippel, P. 2000,“Tonal and contra-tonal structure of Viennesetwelve-tone rows”, artigo apresentado à Society for Music Theory Conference, Toronto, Canada, 2000.

KIVY, P. 2001, “Making the Codes and Breaking the Codes: Two Revolutions inTwentieth-Century Music”, inNew Essays on Musical Understanding, Clarendon.

KRUMHANSL, C. L.,G. J. Sandell, and D. C. Sergeant. 1987.“The Perception of ToneHierarchies and nMirror Forms in Twelve-Tone Serial Music.” Music Perception 5(1):31–78.

LERDAHL, F. 1988. “Cognitive Constraints on Compositional Systems”, Contemporary Music Review 6/2 (1992): 97-121.

LERDAHL, F. e JACKENDOFF, R. 1983. A Generative Theory of Tonal Music. MIT Press ,Cambridge, Mass.

PACKALÉN, E. 2005.“Musical Feelings and Atonal Music”, Postgraduate Journal of Aesthetics, Vol. 2, No. 2, August 2005.

PEDERSEN, P. 1975. “The Perception of Octave Equivalence in Twelve-Tone Rows.”Psychology of Music 3:3–8.

RAFFMAN, D.“Is Twelve-Tone Music Artistically Defective?” Midwest Studies in Philosophy 27/1 (2003): 69–87.

SAVAGE, P. et al., 2015. “Statistical universals reveal the structures and functions ofhuman music”, PNAS, July 21, 2015, vol. 112, no. 29, 8987–8992.

SCHOENBERG, A. 1975 (orig. 1941). “Composition with Twelve Tones (1)”, in Styleand Idea, Leo Stein (ed.). London: Faber & Faber, pp. 214–45.

SCHWARZ, K. R. 1997. “In Contemporary Music, A House Still Divided.” The New York Times, August 3.

SCRUTON, R. 1997. The Aesthetics of Music. Oxford University Press.

TARUSKIN, R. 1996. “How Talented Composers Become Useless.” The New YorkTimes, March 10.

TARUSKIN, R. 2004. “The Poietic Fallacy,”The Musical Times, Vol.145, No. 1886(Spring, 2004), p.7-34.

TYMOCZKO, D. 2000. “The Sound of Philosophy”, Boston Review,October 01.Walton, K. 1971. “Categories of Art.”Philosophical Review 79(3):334–67.

Published
2017-03-27
Section
Artigos