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<p class=MsoNormal><font size=3 color=blue face=Garamond><span
style='font-size:12.0pt;font-family:Garamond;color:blue'>Olá a todos,</span></font></p>
<p class=MsoNormal><font size=3 color=blue face=Garamond><span
style='font-size:12.0pt;font-family:Garamond;color:blue'> </span></font></p>
<p class=MsoNormal><font size=3 color=blue face=Garamond><span
style='font-size:12.0pt;font-family:Garamond;color:blue'>Faço minhas as
palavras da Mónica! Gostaria de saber se alguém está fazendo uma compilação
dessas mensagens em forma de texto. Isso precisa ser registrado...</span></font></p>
<p class=MsoNormal><font size=3 color=blue face=Garamond><span
style='font-size:12.0pt;font-family:Garamond;color:blue'>Abraço, Heloísa</span></font></p>
<p class=MsoNormal><font size=3 color=blue face=Garamond><span
style='font-size:12.0pt;font-family:Garamond;color:blue'> </span></font></p>
<p class=MsoNormal style='margin-left:35.4pt'><font size=2 face=Tahoma><span
style='font-size:10.0pt;font-family:Tahoma'>-----Mensagem original-----<br>
<b><span style='font-weight:bold'>De:</span></b>
anppom-l-bounces@iar.unicamp.br [mailto:anppom-l-bounces@iar.unicamp.br] <b><span
style='font-weight:bold'>Em nome de </span></b>Mônica Leme<br>
<b><span style='font-weight:bold'>Enviada em:</span></b> sábado, 5 de novembro
de 2005 12:49<br>
<b><span style='font-weight:bold'>Para:</span></b> Adriana Lopes; ANPPOM<br>
<b><span style='font-weight:bold'>Assunto:</span></b> [Spam] Re: [ANPPOM-L]
Theory, theorists</span></font></p>
<p class=MsoNormal style='margin-left:35.4pt'><font size=3
face="Times New Roman"><span style='font-size:12.0pt'> </span></font></p>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>Caros professores!</span></font></p>
</div>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>Estou adorando esse debate, que tem
sido muito instrutivo e de alto nível!</span></font></p>
</div>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>Agradeço aos professores Manuel
Veiga, Carlos Palombini e Adriana Lopes por contribuições tão úteis!</span></font></p>
</div>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>Valeu!</span></font></p>
</div>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>Mônica Neves Leme</span></font></p>
</div>
<blockquote style='border:none;border-left:solid black 1.5pt;padding:0cm 0cm 0cm 4.0pt;
margin-left:3.75pt;margin-top:5.0pt;margin-right:0cm;margin-bottom:5.0pt'>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>----- Original Message ----- </span></font></p>
</div>
<div style='font-color:black'>
<p class=MsoNormal style='margin-left:35.4pt;background:#E4E4E4'><b><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial;font-weight:
bold'>From:</span></font></b><font size=2 face=Arial><span style='font-size:
10.0pt;font-family:Arial'> <a href="mailto:adrimauricio@uol.com.br"
title="adrimauricio@uol.com.br">Adriana Lopes</a> </span></font></p>
</div>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><b><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial;font-weight:bold'>To:</span></font></b><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'> <a
href="mailto:anppom-l@iar.unicamp.br" title="anppom-l@iar.unicamp.br">ANPPOM</a>
</span></font></p>
</div>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><b><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial;font-weight:bold'>Sent:</span></font></b><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'> Saturday,
November 05, 2005 12:40 PM</span></font></p>
</div>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><b><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial;font-weight:bold'>Subject:</span></font></b><font
size=2 face=Arial><span style='font-size:10.0pt;font-family:Arial'> [ANPPOM-L]
Theory, theorists</span></font></p>
</div>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><font size=3
face="Times New Roman"><span style='font-size:12.0pt'> </span></font></p>
</div>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>Caros Manuel Veiga, Palombini e
demais colegas,</span></font></p>
</div>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><font size=3
face="Times New Roman"><span style='font-size:12.0pt'> </span></font></p>
</div>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>Fiz uma tradução para uso próprio de
algumas passagens do verbete do New Grove que vocês têm citado - Theory,
Theorists - escrito por Palisca e Bent.</span></font></p>
</div>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><font size=3
face="Times New Roman"><span style='font-size:12.0pt'> </span></font></p>
</div>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>Seguem abaixo: o conteúdo dos dois
primeiros itens que compõem o artigo, disponibilizado pelo Grove on Line;
e minha tradução livre, a partir do verbete impresso.</span></font></p>
</div>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><font size=3
face="Times New Roman"><span style='font-size:12.0pt'> </span></font></p>
</div>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>Abraços,</span></font></p>
</div>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><font size=3
face="Times New Roman"><span style='font-size:12.0pt'> </span></font></p>
</div>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>Adriana Lopes Moreira</span></font></p>
</div>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>Usp / Unicamp</span></font></p>
</div>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><font size=3
face="Times New Roman"><span style='font-size:12.0pt'> </span></font></p>
</div>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>******************************************</span></font></p>
</div>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><a name=FIRSTHIT></a><strong><b><font
size=3 face="Times New Roman"><span lang=EN style='font-size:12.0pt'>Theory,
theorists.</span></font></b></strong><span lang=EN> </span></p>
</div>
<div>
<p class=MsoNormal style='margin-left:35.4pt'><span class=con><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'>CLAUDE V. PALISCA</span></font></span><span
lang=EN> (1–10), <span class=con>CLAUDE V. PALISCA</span>/<span
class=con>IAN D. BENT</span> (11–14), <span class=con>IAN D. BENT</span>
(15). <span class=hit1>Theory</span>, theorists. </span><i><span lang=EN-US
style='font-style:italic'>Grove Music Online</span></i><span lang=EN-US>. Ed.
L. Macy (Accessed 14 August 2005), <a href="http://www.grovemusic.com/"><font
size=2><span style='font-size:10.0pt'>http://www.grovemusic.com</span></font></a>
.</span></p>
</div>
<div>
<p class=fp style='margin-left:35.4pt'><font size=3 face="Times New Roman"><span
lang=EN style='font-size:12.0pt'>Theory is now understood as principally the study
of the structure of music. This can be divided into melody, rhythm,
counterpoint, harmony and form, but these elements are difficult to distinguish
from each other and to separate from their contexts. At a more fundamental
level theory includes considerations of tonal systems, scales, tuning,
intervals, consonance, dissonance, durational proportions and the acoustics of
pitch systems. A body of theory exists also about other aspects of music, such
as composition, performance, orchestration, ornamentation, improvisation and
electronic sound production. (There are separate articles on most of these
subjects, but for more detailed treatment of the most fundamental of them <i><span
style='font-style:italic'>see</span></i> in particular <a
href="http://www.grovemusic.com.ezproxy2.lib.ou.edu/shared/components/article/article_sourceid_resolver.html?source_section_id=S00134"
target="_top">Acoustics</a>; <a
href="http://www.grovemusic.com.ezproxy2.lib.ou.edu/shared/components/article/article_sourceid_resolver.html?source_section_id=S41862"
target="_top">Analysis</a>; <a
href="http://www.grovemusic.com.ezproxy2.lib.ou.edu/shared/components/article/article_sourceid_resolver.html?source_section_id=S06690"
target="_top">Counterpoint</a>; <a
href="http://www.grovemusic.com.ezproxy2.lib.ou.edu/shared/components/article/article_sourceid_resolver.html?source_section_id=S50818"
target="_top">Harmony</a>; <a
href="http://www.grovemusic.com.ezproxy2.lib.ou.edu/shared/components/article/article_sourceid_resolver.html?source_section_id=S13738"
target="_top">Improvisation</a>; <a
href="http://www.grovemusic.com.ezproxy2.lib.ou.edu/shared/components/article/article_sourceid_resolver.html?source_section_id=S18357"
target="_top">Melody</a>; <a
href="http://www.grovemusic.com.ezproxy2.lib.ou.edu/shared/components/article/article_sourceid_resolver.html?source_section_id=S43718"
target="_top">Mode</a>; <a
href="http://www.grovemusic.com.ezproxy2.lib.ou.edu/shared/components/article/article_sourceid_resolver.html?source_section_id=S20114"
target="_top">Notation</a>; <a
href="http://www.grovemusic.com.ezproxy2.lib.ou.edu/shared/components/article/article_sourceid_resolver.html?source_section_id=S45963"
target="_top">Rhythm</a>.)</span></font></p>
<p class=p style='margin-left:35.4pt'><a name=music.44944.P2></a><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'>The Western art
music tradition is remarkable for the quantity and scope of its theory. The
Byzantine, Arabic, Hebrew, Chinese and Indian traditions are also notable in
possessing significant bodies of theoretical literature. Recently there has
also been some theoretical treatment of jazz and other genres of popular music.
This article, however, will deal exclusively with the Western art music
tradition. (For these other traditions <i><span style='font-style:italic'>see</span></i>
particularly <a
href="http://www.grovemusic.com.ezproxy2.lib.ou.edu/shared/components/article/article_sourceid_resolver.html?source_section_id=S01139"
target="_top">Arab music</a>; <a
href="http://www.grovemusic.com.ezproxy2.lib.ou.edu/shared/components/article/article_sourceid_resolver.html?source_section_id=S43141.2"
target="_top">China, §II</a>; <a
href="http://www.grovemusic.com.ezproxy2.lib.ou.edu/shared/components/article/article_sourceid_resolver.html?source_section_id=S43272.3"
target="_top">India, §III</a>; <a
href="http://www.grovemusic.com.ezproxy2.lib.ou.edu/shared/components/article/article_sourceid_resolver.html?source_section_id=S13895.2"
target="_top">Iran, §II</a>; <a
href="http://www.grovemusic.com.ezproxy2.lib.ou.edu/shared/components/article/article_sourceid_resolver.html?source_section_id=S43335.1"
target="_top">Japan, §I</a>; <a
href="http://www.grovemusic.com.ezproxy2.lib.ou.edu/shared/components/article/article_sourceid_resolver.html?source_section_id=S41322.3"
target="_top">Jewish music, §III</a>; <i><span style='font-style:italic'>see
also</span></i> <a
href="http://www.grovemusic.com.ezproxy2.lib.ou.edu/shared/components/article/article_sourceid_resolver.html?source_section_id=S04494.17"
target="_top">Byzantine chant, §17</a>; <a
href="http://www.grovemusic.com.ezproxy2.lib.ou.edu/shared/components/article/article_sourceid_resolver.html?source_section_id=S11694.1"
target="_top">Greece, §I</a>; <a
href="http://www.grovemusic.com.ezproxy2.lib.ou.edu/shared/components/article/article_sourceid_resolver.html?source_section_id=S43718.5"
target="_top">Mode, §V</a>; <a
href="http://www.grovemusic.com.ezproxy2.lib.ou.edu/shared/components/article/article_sourceid_resolver.html?source_section_id=S45011"
target="_top">Jazz</a>; <a
href="http://www.grovemusic.com.ezproxy2.lib.ou.edu/shared/components/article/article_sourceid_resolver.html?source_section_id=S43179"
target="_top">Popular music</a>.).</span></font></p>
<h4 style='margin-right:0cm;margin-bottom:3.0pt;margin-left:35.4pt'><b><font
size=5 face="Times New Roman"><span lang=EN style='font-size:18.0pt'>1.
Introduction.</span></font></b></h4>
<p class=p style='margin-left:35.4pt'><a name=music.44944.P3></a><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'>Treatises as
disparate as <i><span style='font-style:italic'>De institutione musica</span></i>
(<i><span style='font-style:italic'>c</span></i>500) by Boethius, <i><span
style='font-style:italic'>L’arte <st1:place u1:st="on"><st1:State u1:st="on">del</st1:State></st1:place>
contraponto ridotta in tavole</span></i> (1586–9) by Giovanni Maria
Artusi, <i><span style='font-style:italic'>L’armonico pratico al cimbalo</span></i>
(1708) by Francesco Gasparini, and <i><span style='font-style:italic'>Der freie
Satz</span></i> (1935) by Heinrich Schenker are all commonly subsumed under the
category of thought called music theory. Yet these four books have little in
common. That of Boethius was totally divorced from the music of his time and
probably not intended to be read by musicians or composers. In it a student of
the liberal arts sums up the speculations about music of a number of Greek
authors, mainly from the 2nd century. Artusi’s book was a text for the
training of musicians and composers in counterpoint as practised and taught by
his, then older, generation. Gasparini’s is a manual for harpsichordists
on the art of accompanying from a thoroughbass. Schenker’s expounds some
fundamental hypotheses about masterpieces of 18th- and 19th-century music
through an analysis of their tonal and harmonic content.</span></font></p>
<p class=p style='margin-left:35.4pt'><a name=music.44944.P4></a><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'>Even allowing for
the span of time encompassing them – from about 500 to 1935 – and
the changing practice of music, the absence of any significant overlap in these
four books, whether of content, purpose or intended audience, demonstrates at
once the diffuseness and richness of the concept of theory. The term can be
given an inclusive or an exclusive definition; in the one case it will embrace
all of these works, in the other only one or two of them. It is useful to begin
with an attempt at an inclusive definition.</span></font></p>
<h4 style='margin-right:0cm;margin-bottom:3.0pt;margin-left:35.4pt'><b><font
size=5 face="Times New Roman"><span lang=EN style='font-size:18.0pt'>2.
Definitions.</span></font></b></h4>
<p class=p style='margin-left:35.4pt'><a name=music.44944.P5></a><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'>The word
‘theory’ itself has broad implications. Its Greek root <i><span
style='font-style:italic'>theōria</span></i> is the noun form of the verb <i><span
style='font-style:italic'>theōreō</span></i>, meaning to inspect,
look at, behold, observe, contemplate, consider. A <i><span style='font-style:
italic'>theōros</span></i> is a spectator, as at a festival or game.
Etymologically, then, theory is an act of contemplation. It is observing and
speculating upon as opposed to doing something.</span></font></p>
<p class=p style='margin-left:35.4pt'><a name=music.44944.P6></a><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'>Aristides
Quintilianus, who understood the concept in this way, constructed a plan of
musical knowledge about <span style='font-variant:small-caps'>ce</span> 300
that may be outlined as follows:</span></font></p>
<p class=MsoNormal style='margin-left:35.4pt'><st1:place u1:st="on"><a
name=music.44944.P1000></a><font size=2 face="Times New Roman"><span lang=EN
style='font-size:10.0pt'>I.</st1:place> Theoretical (<i><span style='font-style:
italic'>theoretikon</span></i>)<br>
A. Natural (<i><span style='font-style:italic'>physikon</span></i>)<br>
1. arithmetical (<i><span style='font-style:italic'>arithmetikon</span></i>)<br>
2. natural (<i><span style='font-style:italic'>physikon</span></i>)<br>
B. Artificial (<i><span style='font-style:italic'>technikon</span></i>)<br>
1. harmonic (<i><span style='font-style:italic'>harmonikon</span></i>)<br>
2. rhythmic (<i><span style='font-style:italic'>rhythmikon</span></i>)<br>
3. metric (<i><span style='font-style:italic'>metrikon</span></i>)<br>
II. Practical (<i><span style='font-style:italic'>praktikon</span></i>)<br>
A. Creative (<i><span style='font-style:italic'>crestikon</span></i>)<br>
1. melo-poetic (<i><span style='font-style:italic'>melopoiia</span></i>)
(pertaining to song making)<br>
2. temporal (<i><span style='font-style:italic'>rhythmopoiia</span></i>)<br>
3. poetic (<i><span style='font-style:italic'>poiēsis</span></i>)
(composition of music and poetry)<br>
B. Executive (<i><span style='font-style:italic'>exangeltikon</span></i>)<br>
1. instrumental (<i><span style='font-style:italic'>organikon</span></i>)<br>
2. vocal (<i><span style='font-style:italic'>ōdikon</span></i>)<br>
3. dramatic (<i><span style='font-style:italic'>hypokritikon</span></i>)</span></font></p>
<p class=p style='margin-left:35.4pt'><a name=music.44944.P1001></a><font
size=3 face="Times New Roman"><span lang=EN style='font-size:12.0pt'>Although
Aristides separated the purely theoretical from the practical, the entire field
that he ordered is theoretical in a broad sense, the division under
‘Theoretical’ being what might now be called precompositional
theory, while the category ‘Practical’ deals with compositional theory
and the theory of performance. He was not so much dividing music as what can be
said about music, consequently musical knowledge and thought.</span></font></p>
<p class=p style='margin-left:35.4pt'><a name=music.44944.P7></a><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'>Not much needs to
be added to this outline to embrace all modern musical knowledge. Certain of
the categories need to be broadened; for example, the
‘arithmetical’ ought to include mathematics in general,
communications theory and artificial intelligence; ‘natural’ theory
should include psychological and physiological as well as physical acoustics.
Under ‘Theoretical’ one would add history, aesthetics, psychology,
anthropology and sociology of music. Among the ‘Artificial’
categories, the ‘harmonic’ as understood by Aristides applied to
tonal relations in terms of successive pitches and would have to be extended to
simultaneous relations. Another technical category that one would add is that
of ‘timbre’, comprehending instrumentation, orchestration and
electronic media. Similarly, under ‘Practical’,
‘melodic’ would be complemented by ‘harmonic’, while
‘poetic’ would, as in Aristides’ day, embrace both written
and improvised composition. A modern version of Aristides’ plan might
then look as follows:</span></font></p>
<p class=MsoNormal style='margin-left:35.4pt'><a name=music.44944.P1002></a><font
size=2 face="Times New Roman"><span lang=EN style='font-size:10.0pt'>I.
Theoretical<br>
A. Scientific<br>
1. mathematical<br>
2. physical<br>
3. psychological<br>
4. physiological<br>
5. anthropological<br>
6. sociological<br>
B. Technical: parameters:<br>
1. pitch<br>
2. duration<br>
3. timbre<br>
C. Critical:<br>
1. analytical<br>
2. aesthetic<br>
3. evaluative<br>
D. Historical<br>
II. Practical<br>
A. Creative<br>
1. written composition<br>
2. improvisational<br>
3. synthetic (tape, computer, etc.)<br>
B. Pedagogical<br>
1. melody<br>
2. harmony<br>
3. counterpoint<br>
4. orchestration etc.<br>
C. Executive<br>
1. instrumental<br>
2. vocal<br>
3. electronic or mechanical<br>
4. dramatic and choreographic<br>
D. Functional<br>
1. pedagogical (e.g. children’s songs)<br>
2. therapeutic<br>
3. political<br>
4. military<br>
5. recreational</span></font></p>
<p class=p style='margin-left:35.4pt'><a name=music.44944.P8></a><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'>This entire field
has sometimes been called <i><span style='font-style:italic'>Musikwissenschaft</span></i>,
the science of music, or musicology. Although it is all
‘theoretical’ in the sense that its method is thoughtful
observation, only a relatively small part of this scheme is acknowledged as the
province of the modern working theorist, namely the Theoretical–Technical
(I.B), the Theoretical–Critical–Analytical (I.C.1), the Practical–Creative
(II.A) and the Practical–Pedagogical (II.B) categories, which may be
assumed under the catchwords ‘theoretical’,
‘analytical’, ‘creative’ and ‘practical’.
Yet many of the books from earlier times that are commonly referred to as
‘theoretical treatises’ address themselves to the whole area
represented by the above outline. In this survey it will be important,
therefore, to keep in mind three things: the conception of the theoretical
function prevailing at a particular time, the audience for which a treatise was
written, and the philosophical or practical goals of the author.</span></font></p>
<p class=p style='margin-left:35.4pt'><font size=2 face=Arial><span lang=EN
style='font-size:10.0pt;font-family:Arial'>*********************************************</span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><strong><b><font
size=3 face="Times New Roman"><span style='font-size:12.0pt'>Teoria, teóricos.</span></font></b></strong></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN-US style='font-size:12.0pt'>PALISCA,
Claude & BENT, Ian. Theory, theorists. In: SADIE, Stanley, Ed. <b><span
style='font-weight:bold'>The New Grove dictionary of music and musicians.</span></b><i><span
style='font-style:italic'> </span></i>Vol. 25. <st1:place u1:st="on"><st1:City u1:st="on">London</st1:City></st1:place>:
Macmillan, 2001, pp. 359-385.</span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'>Definição da
teoria da música ocidental:</span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-right:25.9pt;margin-bottom:0cm;margin-left:
65.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>“Atualmente,
a teoria é entendida principalmente como o estudo da estrutura da música e pode
ser dividida em: melodia, ritmo, contraponto, harmonia e forma. No entanto, é
difícil distinguir esses elementos uns dos outros, bem como separá-los de seus
contextos. Em um nível mais fundamental, a teoria inclui considerações
relacionadas ao sistema tonal, às escalas, à afinação, aos intervalos, à
consonância, à dissonância, às proporções entre as durações e aos sistemas
acústicos relacionados às alturas. Ainda, uma parte principal da teoria está
relacionada a outros aspectos da música, como a composição, a interpretação, a
orquestração, a ornamentação, a improvisação e a produção eletrônica de sons.
[...]”.</span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'>A teoria da
música ocidental em relação a outras culturas:</span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-right:25.9pt;margin-bottom:0cm;margin-left:
65.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>“A música
associada à tradição ocidental é notável pela quantidade e pela extensão de sua
teoria. Ainda, as tradições bizantina, árabe, hebraica, chinesa e indiana são
notáveis por possuírem princípios significantes relacionados à literatura
teórica. Recentemente, diversos tratamentos teóricos relacionados ao jazz e a
outros gêneros da música popular têm sido desenvolvidos. No entanto, este
artigo tratará exclusivamente da música de tradição ocidental. [...]”.</span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><u><font
size=3 face="Times New Roman"><span lang=EN style='font-size:12.0pt'>1.
Introdução</span></font></u></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'>A riqueza e a
extensão do conceito <i><span style='font-style:italic'>teoria da música</span></i>:</span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-right:25.9pt;margin-bottom:0cm;margin-left:
65.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>“Alguns
tratados como o <i><span style='font-style:italic'>De institutione musica </span></i>(c.
500), de Boécio, <i><span style='font-style:italic'>L’arte del
contraponto ridotta in tavole </span></i>(1586-89), de Giovanni Maria Artusi, <i><span
style='font-style:italic'>L’armonico pratico al cimbalo</span></i>
(1708), de Francesco Gasparini e <i><span style='font-style:italic'>Der freie
Satz </span></i>(1935), de Heinrich Schenker são comumente classificados como
teoria da música. No entanto, esses livros possuem pouco <st1:PersonName u1:st="on" ProductID="em comum. Bo?cio">em
comum. Boécio</st1:PersonName> estava totalmente afastado da música de seu
tempo e provavelmente não teve a intenção de ter seu tratado lido por músicos e
compositores [sic]. Esse tratado, direcionado aos estudiosos das ciências
humanas, reunia especulações acerca da música de diversos autores gregos,
principalmente do século II. O livro de Artusi trazia um texto cuja finalidade
estava associada ao treinamento de músicos e compositores na prática do
contraponto. Em seu texto, versava sobre a então antiga geração. O manual de
Gasparini era voltado para a arte do acompanhamento por cravistas durante a
realização do baixo cifrado. Finalmente, Schenker expõe algumas hipóteses
fundamentais relacionadas a obras-primas compostas durante os século XVIII e
XIX através da análise de seu conteúdo harmônico e tonal”.</span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-right:25.9pt;margin-bottom:0cm;margin-left:
65.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>“Mesmo
admitindo a amplitude do tempo decorrido entre 500 e 1935 e considerando as
mudanças pelas quais passou a prática musical, a ausência de qualquer
justaposição significante relacionada a esses quatro livros, no que se refere
ao conteúdo, ao propósito e ao público alvo demonstra quão rico e extenso é o
conceito de teoria. O termo pode possuir uma definição inclusiva ou exclusiva.
No primeiro caso, o termo <i><span style='font-style:italic'>Teoria da música</span></i>
irá incluir todas essas obras [os quatro livros citados] e no segundo, admitirá
apenas um ou dois deles. Usualmente, há um esforço inicial em direção à
definição inclusiva”.</span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><u><font
size=3 face="Times New Roman"><span lang=EN style='font-size:12.0pt'>2.
Definições</span></font></u></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'>Etimologia:</span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-right:25.9pt;margin-bottom:0cm;margin-left:
65.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>“A palavra
isolada ‘teoria’ possui uma gama de implicações. Sua raiz grega <i><span
style='font-style:italic'>theõria</span></i> forma o verbo <i><span
style='font-style:italic'>theõreõ</span></i>, que significa inspecionar,
examinar, notar, observar, contemplar, considerar. Um <i><span
style='font-style:italic'>theõros </span></i>é um espectador, em um festival ou
em um jogo. Assim, etimologicamente, teoria é um ato de contemplação, ou seja,
de observação e especulação a respeito de algo, em oposição a fazer
algo”.</span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'>Aristides
Quintinianus:</span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-right:33.3pt;margin-bottom:0cm;margin-left:
65.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>“Aristides
Quintiliano, que entendia o conceito à sua maneira, construiu um plano de
conhecimento musical em c. 300, que pode ser resumido da seguinte
maneira:”.</span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-right:33.3pt;margin-bottom:0cm;margin-left:
71.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>I. Teórica (<i><span
style='font-style:italic'>theoretikon</span></i>)</span></font></p>
<p class=MsoNormal style='margin-right:33.3pt;margin-bottom:0cm;margin-left:
107.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>A. Natural (<i><span
style='font-style:italic'>phisikon</span></i>): 1. aritmética (<i><span
style='font-style:italic'>arithmetokon</span></i>), 2. natural (<i><span
style='font-style:italic'>phisikon</span></i>)</span></font></p>
<p class=MsoNormal style='margin-right:33.3pt;margin-bottom:0cm;margin-left:
107.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>B. Artificial (<i><span
style='font-style:italic'>technikon</span></i>): 1. harmônica (<i><span
style='font-style:italic'>harmonikon</span></i>), 2. rítmica (<i><span
style='font-style:italic'>rhythmikon</span></i>), 3. métrica (<i><span
style='font-style:italic'>metrikon</span></i>)</span></font></p>
<p class=MsoNormal style='margin-right:33.3pt;margin-bottom:0cm;margin-left:
71.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>II. Prática (<i><span
style='font-style:italic'>praktikon</span></i>)</span></font></p>
<p class=MsoNormal style='margin-right:33.3pt;margin-bottom:0cm;margin-left:
107.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>A. Criativa (<i><span
style='font-style:italic'>chrestikon</span></i>): 1. melo poética (<i><span
style='font-style:italic'>melopoiia</span></i>) (refere-se à execução de canções),
2. temporal (<i><span style='font-style:italic'>rhythmopoiia</span></i>), 3.
poética (<i><span style='font-style:italic'>poiesis</span></i>) (composição de
música e poesia)</span></font></p>
<p class=MsoNormal style='margin-right:33.3pt;margin-bottom:0cm;margin-left:
107.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>B. Executiva (<i><span
style='font-style:italic'>exangeltikon</span></i>): 1. Instrumental (<i><span
style='font-style:italic'>organikon</span></i>), 2. vocal (<i><span
style='font-style:italic'>odikon</span></i>), 3. dramática (<i><span
style='font-style:italic'>hypokritikon</span></i>)</span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'>O autor explica o
plano para a aquisição de conhecimento musical formulado por Quintinianus:</span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-right:33.3pt;margin-bottom:0cm;margin-left:
65.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>“Embora
Aristides separasse assuntos puramente teóricos de assuntos de ordem prática, a
esfera de ação completa que ele ordenou é teórica em seu sentido mais amplo. Na
categoria ‘teórica’, relacionou os assuntos associados atualmente à
denominada teoria pré-composicional e na categoria ‘prática’
reportou-se à atual teoria composicional e à teoria da <i><span
style='font-style:italic'>performance</span></i>. Ele não se preocupou com o
que poderia ser dito a respeito da música, ou seja, com o conhecimento e o
pensamento relacionado à música”.</span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'>O autor adapta o
plano para a aquisição de conhecimento musical formulado por Quintinianus aos
dias atuais:</span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-right:33.3pt;margin-bottom:0cm;margin-left:
65.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>“Não
precisamos adicionar muita informação a esse resumo para podermos nos reportar
ao conhecimento musical moderno. Certas categorias precisam ser ampliadas
– por exemplo, a ‘aritmética’ deve incluir a matemática de
maneira geral, a teoria das comunicações, e a inteligência artificial; a teoria
‘natural’ deve a psicologia e a fisiologia, assim como a física
acústica. Na categoria ‘teórica’, podem ser incluídas a história, a
estética, a psicologia, a antropóloga e a sociologia da música. Na categoria
‘artificial’, a ‘harmônica’ é entendida por Aristides
como sendo aplicada às relações entre alturas, no que se refere à sua sucessão
e pode ser estendido ao seu relacionamento simultâneo. Outra categoria técnica
que pode ser adicionada é ‘timbre’, que compreende instrumentação,
orquestração e meio eletrônico. Similarmente, na categoria
‘prática’, a ‘melódica’ pode ser complementada pela
‘harmônica’, enquanto a ‘poética’ pode, assim como
ocorria na época de Aristides, incluir tanto a composição escrita quanto a
improvisada. Uma versão moderna do plano de Aristides pode ser da seguinte
maneira:”.</span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-right:33.3pt;margin-bottom:0cm;margin-left:
65.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>I. Teórica</span></font></p>
<p class=MsoNormal style='margin-right:33.3pt;margin-bottom:0cm;margin-left:
89.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>A. Científica: 1.
matemática, 2. física, 3. psicológica, 4. fisiológica, 5. antropológica, 6.
sociológica</span></font></p>
<p class=MsoNormal style='margin-right:33.3pt;margin-bottom:0cm;margin-left:
89.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>B. Técnica:
parâmetros: 1. altura, 2. duração, 3. timbre</span></font></p>
<p class=MsoNormal style='margin-right:33.3pt;margin-bottom:0cm;margin-left:
89.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>C. Crítica: 1.
analítica, 2. estética, 3. valorativa</span></font></p>
<p class=MsoNormal style='margin-right:33.3pt;margin-bottom:0cm;margin-left:
89.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>D. Histórica</span></font></p>
<p class=MsoNormal style='margin-right:33.3pt;margin-bottom:0cm;margin-left:
65.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>II. Prática</span></font></p>
<p class=MsoNormal style='margin-right:33.3pt;margin-bottom:0cm;margin-left:
95.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>A. Criativa: 1.
composição escrita, 2. composição improvisada, 3. composição sintética (fita
magnética, computador, etc)</span></font></p>
<p class=MsoNormal style='margin-right:33.3pt;margin-bottom:0cm;margin-left:
95.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>B. Pedagógica: 1.
melodia, 2. harmonia, 3. contraponto, 4. orquestração, etc.</span></font></p>
<p class=MsoNormal style='margin-right:33.3pt;margin-bottom:0cm;margin-left:
95.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>C. Executiva: 1.
Instrumental, 2. vocal, 3. eletrônica ou mecânica, 4. dramática ou cenográfica</span></font></p>
<p class=MsoNormal style='margin-right:33.3pt;margin-bottom:0cm;margin-left:
95.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>D. Funcional: 1.
pedagógica (por exemplo, canções infantis), 2. terapêutica, 3. política, 4.
militar, 5. recreativa</span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'>Palisca conclui:</span></font></p>
<p class=MsoNormal style='margin-left:35.4pt;text-align:justify'><font size=3
face="Times New Roman"><span lang=EN style='font-size:12.0pt'> </span></font></p>
<p class=MsoNormal style='margin-right:33.3pt;margin-bottom:0cm;margin-left:
65.4pt;margin-bottom:.0001pt;text-align:justify'><font size=2
face="Times New Roman"><span lang=EN style='font-size:11.0pt'>“Essa
esfera total tem sido denominada <i><span style='font-style:italic'>Musikwissenschaft</span></i>,
a ciência da música, ou musicologia. Embora seja teórica no sentido de seu
método ser a observação atenta, apenas uma parte relativamente pequena
desse esquema é reconhecida como um ramo de conhecimento dos trabalhos teóricos
produzidos pelos teóricos atuais - nomeadamente, as categorias: teórica-técnica
(I.B), teórica-crítica-analítica (I.C.1), prática-criativa (II.A) e
prática-pedagógica (II.B), denominadas ‘teórica’,
‘analítica’, ‘criativa’ e ‘prática’. Embora
muitos tratados antigos sejam nomeados ‘tratados teóricos’, eles
podem ser representados pelo total de áreas relacionadas acima. No entanto,
essa abordagem geral, teremos que ter em mente três coisas: a concepção da
função teórica predominando em um tempo particular, o público a quem o tratado
foi endereçado e os princípios filosóficos ou práticos de autor”.</span></font></p>
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