Musical onomatopoeia
Resumo
Este artigo enfoca alguns aspectos críticos, históricos e composicionais relativos à “onomatopéia musical” (Monelle 2002: 2). A pesquisa baseia-se tanto em publicações prévias que se referem a esta prática musical, quanto em uma análise de repertório selecionado do século XX.Downloads
Referências
“Onomatopoeia in Music”, The Musical Times, Vol. 44, No. 722. (Apr. 1, 1903), p. 246 (Correspondence).
BERGER, Arthur. Music as Imitation. Perspectives of New Music, Vol. 24, No. 1. (Autumn - Winter, 1985), pp. 108-118.
BLACKBURN, Vernon. “Onomatopoeia in Music” The Musical Times, Vol. 44, No. 721. (Mar. 1, 1903), pp. 164-166.
BOILÈS, Charles L. “Processes of Musical Semiosis”, Yearbook for Traditional Music, Vol. 14. (1982), pp. 24-44.
BROECKX, Jan L. “Music and Language. On the Pretended Inadequacy of Music as a Language of Feelings”, International Review of the Aesthetics and Sociology of Music, Vol. 27, No. 1. (Jun., 1996), pp. 87-93.
#BURTON, Anthony. “Places, People, Pictures: The Recent Music of Edward Cowie”, The Musical Times, Vol. 123, No. 1668. (Feb., 1982), pp. 99+101-103.
BUTOR, M. & SCHIER, D. “Music as a Realistic Art”, Perspectives of New Music, Vol. 20, No. 1/2. (Autumn, 1981 - Summer, 1982), pp. 448-463.
CARMANT, Danielle. «Le Cantus Firmus et sa Parodie dans une pièce onomatopéique extraite du Festino (1608) d’Adriano Banchieri» in WEBER, Edith (ed.) «Reminiscences, Reference et Perennite.» Paris: Presses de l’Université de Paris-Sorbonne, 2001, pp. 113-121.
CHOI, Yoon-Sook. “Humor in the piano sonatas of Wolfgang Amadeus Mozart.” (DMA dissertation) University of Washington, 2000, 108 p.
CONFORD, Francis Macdonald (trans.). The Republic of Plato. London; New York: Oxford University Press, 1971.
CRUMB, George. Ancient Voices of Children. New York: C. F. Peters Corporation, 1970a.
CRUMB, George. Songs, Drones, and Refrains of Death. New York: C. F. Peters Corporation, 1970b.
CRUMB, George. Madrigals (book II). New York: C. F. Peters Corporation, 1971a.
CRUMB, George. Night of the Four Moons. New York: C. F. Peters Corporation, 1971b.
CRUMB, George. Vox Balanae. New York: C. F. Peters Corporation, 1972.
CRUMB, George. Music for a Summer Evening (Makrokosmos III). C. F. Peters Corporation, 1974.
CRUMB, George. Federico’s Little Songs for Children. New York: C. F. Peters Corporation, 1987.
CRYSTAL, David. Dicionário de lingüística e fonética. Rio de Janeiro: Jorge Zahar Ed, 2000.
DAHLHAUS, Carl. Realism in Nineteeth-Century Music. Cambridge: Cambridge University Press, 1985.
DAHLHAUS, Carl. The idea of absolute music / translated by Roger Lustig. Chicago : University of Chicago Press, 1989.
ECO, Umberto. A Defi nição da Arte. São Paulo: Livraria Martins Fontes, 1968.
ECO, Umberto. La defi nizione dell’arte. Milan: Garzanti Editore s.p.a., 1984.
FOWLER, W. L. “Applied Theory: Musical Onomatopoeia”, Keyboard, Vol. 15 (Nov. 1989), pp. 96-102.
GATTI, Guido M. et al. “The Piano Works of Claude Debussy”, The Musical Quarterly, Vol. 7, No. 3. (Jul., 1921), pp. 418-460.
GOTWALS, Vernon. Haydn: Two Contemporary Portraits, a translation with introduction and notes of the “Biographische Notizen über Joseph Haydn”, and the “Biographische Nach richten von Joseph Haydn” by A. C. Dies. Madison: The University of Wisconsin Press, 1968.
HANSLICK, Edward. On the musically beautiful : a contribution towards the revision of the aesthetics of music. [translated and edited by Geoffrey Payzant] Indianapolis, Ind. : Hackett Pub. Co., 1986.
HARLEY, Maria Anna. “Birds in Concert: North American Birdsong in Bartók’s Piano Concerto No. 3”, Tempo, New Ser., No. 189. (Jun., 1994), pp. 8-16.
HARLEY, Maria Anna. “Birdsong”, Grove Music Online ed. L. Macy (Accessed on May 26, 2006), <http://www.grovemusic.com>
HOWARD, V. A. “On Representational Music”, Noûs, Vol. 6, No. 1. (Mar., 1972), pp. 41-53.
HUGHES, Jenny. “Idealist Thought and Music Theory in Nineteenth-Century Germany: K. C. F. Krause, Dissonance, and “Coming-To-Be””, International Review of the Aesthetics and Sociology of Music, Vol. 27, No. 1. (Jun., 1996), pp. 3-12.
KAGEL, Mauricio. Hallelujah. Vienna: Universal Edition, 1967.
KAUFMANN, Walter (ed.) Basic Writings of Nietzsche. New York: The Modern Library, 1968.
MESSIAEN, Olivier. Petites Esquisses D’Oiseaux. Paris: Editions Musicales Alphonse Leduc, 1988.
MONELLE, Raymond. “Music and the Peircean Trichotomies”, International Review of the Aesthetics and Sociology of Music, Vol. 22, No. 1. (Jun., 1991), pp. 99-108.
MONELLE, Raymond. Linguistics and semiotics in music. London: Routledge, 2002.
MORGAN, Robert P. (ed.) Anthology of Twentieth-Century Music. New York: W. W. Norton & Company, 1992.
NYMAN, Michael. Experimental music. New York: Schirmer Books, 1981.
OSMOND-SMITH, David. “Music as Communication: Semiology or Morphology?” International Review of the Aesthetics and Sociology of Music, Vol. 2, No. 1. (Jun., 1971), pp. 108-111.
PAPADOPOULOS, George-Julius. „Johannes Brahms and nineteenth-century comic ideology.“ (PhD dissertation) University of Washington, 2003, 374 p.
PEIRCE, Charles Sanders. Semiótica e Filosofi a. São Paulo: Editora Cultrix, 1972.
PROKOFIEV, Sergey. Peter and the wolf, symphonic tale for narrator and orchestra, op. 67. Melville, N.Y.: Belwin Mills Pub., 1979?
SAINT-SAËNS, Camille. Le Carnaval des Animaux, Grande fantaisie zoologique. Paris: Editions Durand, 1922.
SAUSSURE, Ferdinand de. Curso de Lingüística Geral. 24a ed. São Paulo: Editora Pensamento-Cultrix, 2002.
SHOREY, Paul (trans.). Plato : The Republic. Cambridge, MA: Harvard University Press, 1963.
SLOBODA, John A. The musical mind: the cognitive psychology of music. Oxford [Oxfordshire]: Clarendon Press; New York: Oxford University Press, 1985.
SPITZER, Michael. “Ambiguity and paradox in Beethoven’s late style.” (PhD dissertation) University of Southampton (United Kingdom), 1993, 690 p.
STANFORD, W. B. “Onomatopoeic Mimesis in Plato, Republic 396b-397c”, The Journal of Hellenic Studies, Vol. 93. (1973), pp. 185-191.
STREET, Alan. “Superior Myths, Dogmatic Allegories: the Resistance to Musical Unity”, Music Analysis, Vol. 8, No. 1/2. (Mar. - Jul., 1989), pp. 77-123.
TARASTI, Eero. A Theory of Musical Semiotics. Bloomington and Indianapolis: Indiana University Press, 1994.
VILLA-LOBOS, Heitor. Bachianas brasileiras n. 2 per orchestra. Milan: Ricordi, 1949.
WAKABAYASHI, Lynn. “Yamada ryu sokyoku ni mirareru senritsukei.” [A study of melodic formulas in Yamada ryu sokyoku.] (MA diss., Musicology: Tokyo Geijutsu Daigaku, 1983) 3v. 403 p.
WHITE, Nicholas P. A companion to Plato’s Republic. Indianapolis: Hackett Pub. Co., 1979.
WINDSOR, W. Luke. “Autonomy, Mimesis and Mechanical Reproduction in Contemporary Music”, Contemporary Music Review, 1996, Vol. 15, Part 1, p.139-150.
WHEELOCK, Gretchen A. “Wit, Humor, and the Instrumental Music of Joseph Haydn.” (PhD dissertation) Yale University, 1979, 322 p.
WISHART, James. “Review: Hallelujah; Streichquartett I/II (Mauricio Kagel)”, Music & Letters, Vol. 67, No. 2. (Apr., 1986), pp. 231-232.
WOOD, Ralph W. “A Pair of Neglected Masterpieces”, Music & Letters, Vol. 14, No. 2. (Apr., 1933), pp. 117-127.
YUASA, Joji. “Music as a Refl ection of a Composer’s Cosmology”, Perspectives of New Music, Vol. 27, No. 2. (Summer, 1989), pp. 176-197.
YUDKIN, Jeremy. Music in medieval Europe. Englewood Cliffs, N.J.: Prentice Hall, 1989.
Copyright (c) 2017 Revista ArteFilosofia
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
Autores que publicam nesta revista concordam com os seguintes termos:
- Autores/as mantém os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a creativecommons.org/licenses/by-nc-sa/4.0/ que permite o compartilhamento do trabalho, com reconhecimento da autoria e publicação inicial nesta revista.
- Autores/as têm autorização para assumir contratos adicionais separadamente, para distribuição não-exclusiva da versão do trabalho publicada nesta revista (ex.: publicar em repositório institucional ou como capítulo de livro), com reconhecimento de autoria e publicação inicial nesta revista.