Orientador: Helena Jank / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-06T07:05:18Z (GMT). No. of bitstreams: 1 Barros_CassianodeAlmeida_M.pdf: 810097 bytes, checksum: 8542910f480b9ce4c4b31daab6a42a7b (MD5) Previous issue date: 2006 / Resumo: Esta pesquisa propõe o estudo da Teoria da Composição musical do final do século XVIII a partir da obra Versuch einer Anleitung zur Composition (1782-1793) de H.C. Koch. Concentra-se na orientação retórica dos procedimentos composicionais, em seus aspectos mecânicos e sua regulamentação. O estudo compara o sistema retórico de criação com o sistema de composição musical. Para isso é utilizada como termo auxiliar de comparação a enciclopédia sobre as artes de J.G. Sulzer (1771-1774). Nesta enciclopédia, Sulzer propõe um sistema genérico de criação artística retoricamente orientado para a recém surgida disciplina Estética. Koch adapta o sistema de Sulzer para as especificidades musicais e cria um método de composição de mesma orientação. Sua teoria concilia elementos conservadores e progressistas, regulamentando a Música e sua prática no sistema das Belas Artes e fornecendo subsídios para uma abordagem hermenêutica contemporânea da Música Clássica. Palavras-chave: 1)Koch, Heinrich Christoph; 2)Música; 3)Retórica; 4)Classicismo na Música / Abstract: This research proposes the study of the theory of musical Composition of the second half of the eightteenth century, based on H.C. Koch's essay Versuch einer Anleitung zur Composition (1782-1793). It focuses on the rhetorical orientation of the compositional procedures, its mechanical aspects and its regulation. The study compares the rhetorical system of creation with the system of musical composition. To this end, it is used J.G. Sulzer's encyclopedia of the finearts (1771-1774) as an auxiliar term of comparison. In this work Sulzer proposes to the new Aesthetic dicipline a generical system of artistic creation that is rhetorically oriented. Koch adapts Sulzer's system to the peculiarities of Music and creates a method of Composition with the same orientation. His theory conciliates conservative and progressive tendencies. It regulates Music and musical practice in the fine arts system and provides conditions to a contemporary hermeneutics approach of the Classical Music. Key words: 1)Music; 2)Rhetoric; 3)Classicism in Music / Mestrado / Mestre em Música

Ce mémoire traite de l’influence des Lumières sur la pensée philosophique et musicale du compositeur et guitariste Fernando Sor (1778-1839). Cette influence peut être déclinée en trois thèmes, autour desquels le présent travail est structuré. Le premier thème, qui est omniprésent dans la Méthode pour la guitare de Sor (Paris, 1830), est celui de l’usage de la raison opposé à l’obéissance aveugle à une autorité. Le deuxième thème, présent lui aussi dans la Méthode, est celui de l’harmonie conçue comme une science permettant d’établir les rapports naturels qui existent entre les sons. Le troisième thème, présent quant à lui dans des chansons à caractère politique composées par Sor entre 1808 et 1832, est celui de la recherche de liberté face à l’oppression. Nous verrons dans ce mémoire que la manière dont la raison, l’harmonie et la liberté se manifestent dans les écrits et les œuvres de ce pionnier de la guitare classique est similaire à la manière dont ces trois mêmes notions sont représentées dans l’Encyclopédie de Diderot et d’Alembert, Sor faisant d’ailleurs référence à cet ouvrage emblématique du siècle des Lumières dans sa Méthode. D’autre part, nous verrons que le guitariste a aussi été influencé par les écrits de figures importantes associées au classicisme français, comme Descartes en ce qui concerne la raison et Rameau en ce qui concerne la notion de basse fondamentale (ces deux auteurs étant d’ailleurs cités dans l’Encyclopédie). En somme, ce mémoire permet de mieux définir le concept d’« influence des Lumières chez Sor » qui restait autrement plutôt flou dans la littérature secondaire publiée à ce jour. / This master’s thesis deals with the influence of the Enlightenment on the philosophical and musical thought of the composer and guitarist Fernando Sor (1778-1839). This influence can be divided into three themes, around which this project is structured. The first theme, which is omnipresent in Sor’s Méthode pour la guitare (Paris, 1830), is that of the use of reason opposed to a blind submission to authority. The second theme, also present in the Méthode, is that of harmony seen as a science that establishes the natural relationships that exist between sounds. The third theme, present in political songs composed by Sor between 1808 and 1832, is that of the struggle of freedom against tyranny. In this thesis, we will see that the way reason, harmony and freedom are conceived in Sor’s work is heavily influenced by Diderot and d’Alembert’s Encyclopédie, which is mentioned in the Méthode. On the other hand, we will see that the guitarist was also influenced by the writings of major figures associated with French classicism, such as Descartes when it comes to reason and Rameau when it comes to the notion of basse fondamentale (both of whom are mentioned in the Encyclopédie). In short, this master’s thesis helps to better understand how the Enlightenment influenced Sor, a subject that was otherwise mostly absent from the secondary literature.