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<p class="MsoNormal">Desculpem a minha intromissão, mas estou apavorado com a
dimensão deste tópico. Era um concurso como tantos, gerando polêmica como
tantos e, o pior, pagando R$ 5000 para o primeiro colocado, certo? O prêmio não
pagava as horas de esforço, nem o incômodo com o juri, nem o incômodo do juri,
muito menos estas tantas linhas de debate sobre critérios, justiça, ética
concurseira, etc. Incrível como esta praga novecentista ainda move o mundo da
música, criando rancor, renegando qualquer ambição artística para décimo plano,
fomentando uma visão equivocada, linear, do que é nível musical, gastando um
tempo precioso que os músicos poderiam usar para produzir música, difundir
música como arte e não como esporte (não tenho nada contra os esportes, mas
acho que fazem parte de outra categoria e o que difere artes e esportes é
justamente o ponto "critérios objetivos" que separam 1° e 2°
colocado.)... Os concursos são uma boa oportunidade, uma ótima oportunidade
para (re)pensar o que se quer tocando um piano ou uma caixeta.</p>
<br><br>Thiago Colombo de Freitas<br><br><font style="font-size:8pt" color="#bfbfbf" size="1">Universidade Federal de Pelotas</font><font style="font-size:8pt" color="#bfbfbf" size="1"><br></font><font style="font-size:8pt" color="#bfbfbf" size="1"><br></font><font style="font-size:8pt" color="#bfbfbf" size="1">Centro de Artes</font><font style="font-size:8pt" color="#bfbfbf" size="1"><br></font><font style="font-size:8pt" color="#bfbfbf" size="1"><br></font><font style="font-size:8pt" color="#bfbfbf" size="1">Professor dos cursos de Música</font><br><br><br><div><hr id="stopSpelling">From: silvioferrazmello@uol.com.br<br>Date: Mon, 24 Oct 2011 23:48:54 -0200<br>To: anppom-l@iar.unicamp.br<br>Subject: [ANPPOM-Lista] A palhaçada do Concurso de Tatuí<br><br>
<meta http-equiv="Content-Type" content="text/html; charset=unicode">
<meta name="Generator" content="Microsoft SafeHTML"><br><div><br><div>Begin forwarded message:</div><br class="ecxApple-interchange-newline"><blockquote><div style="margin-right:0px;margin-bottom:0px;margin-left:0px"><span style="font-family:'Helvetica';font-size:medium"><b>From: </b></span><span style="font-family:'Helvetica';font-size:medium">silvioferrazmello <<a href="mailto:silvioferrazmello@uol.com.br">silvioferrazmello@uol.com.br</a>><br></span></div><div style="margin-right:0px;margin-bottom:0px;margin-left:0px"><span style="font-family:'Helvetica';font-size:medium"><b>Date: </b></span><span style="font-family:'Helvetica';font-size:medium">October 24, 2011 11:48:32 PM GMT-02:00<br></span></div><div style="margin-right:0px;margin-bottom:0px;margin-left:0px"><span style="font-family:'Helvetica';font-size:medium"><b>To: </b></span><span style="font-family:'Helvetica';font-size:medium">Cristina Capparelli Gerling <<a href="mailto:cgerling@ufrgs.br">cgerling@ufrgs.br</a>><br></span></div><div style="margin-right:0px;margin-bottom:0px;margin-left:0px"><span style="font-family:'Helvetica';font-size:medium"><b>Subject: </b></span><span style="font-family:'Helvetica';font-size:medium"><b>Re: [ANPPOM-Lista] A palhaçada do Concurso de Tatuí</b><br></span></div><br><div>cristina e colegas,<br><br>creio que o que vc coloca é exato, embora seja difícil determinar o que é fidelidade à partitura.<br>no mais:<br>mesmo o critério mais objetivo possível é específico de uma escolha de grupo (como um tipo de arco, um timbre específico, etc)<br>e sempre que entra-se em concurso sabe-se pelo desenho da banca qual mais ou menos a tendência, quais as escolas privilegiadas, etc.<br>e não há nada de errado nisto.<br><br>abs<br>silvio<br><br>On Oct 24, 2011, at 9:49 AM, Cristina Capparelli Gerling wrote:<br><br><blockquote>Obrigada Zélia por tornar ainda mais claro o fato de ser um compromisso assumido entre competidor e avaliadores.<br></blockquote><blockquote><br></blockquote><blockquote>Cristina<br></blockquote><blockquote><br></blockquote><blockquote>Citando Zélia Chueke <<a href="mailto:zchuekepiano@ufpr.br">zchuekepiano@ufpr.br</a>>:<br></blockquote><blockquote><br></blockquote><blockquote><blockquote>Assino em baixo.<br></blockquote></blockquote><blockquote><blockquote><br></blockquote></blockquote><blockquote><blockquote>Em concurso, os critérios devem ser muito claros e os aspectos objetivos<br></blockquote></blockquote><blockquote><blockquote>tem que estar em primeiro lugar. Notas certas, ritmo certo...as vezes<br></blockquote></blockquote><blockquote><blockquote>perdemos os "artistas" mais inspirados, mas como se trata de competição,o<br></blockquote></blockquote><blockquote><blockquote>subjetivo quase nao é levado em conta, pois nao pode ser explicado. Conta<br></blockquote></blockquote><blockquote><blockquote>a fidelidade à partitura em primeiro lugar.<br></blockquote></blockquote><blockquote><blockquote><br></blockquote></blockquote><blockquote><blockquote>O Julius Levine, "o contrabaxista" de Tanglewood, com quem tive coaching<br></blockquote></blockquote><blockquote><blockquote>na Mannes, referindo-se à concursos para orquestra, dizia que as vezes<br></blockquote></blockquote><blockquote><blockquote>perdemos os melhores candidatos na eliminatoria, mas com 150 candidatos<br></blockquote></blockquote><blockquote><blockquote>para ouvir, o critério tem que ser o mais objetivo possivel!<br></blockquote></blockquote><blockquote><blockquote><br></blockquote></blockquote><blockquote><blockquote>Nao quer dizer que sao os concursos que determinam os grandes artistas;<br></blockquote></blockquote><blockquote><blockquote>exemplos nao faltam, mas como disse a Cristina, uma vez que se faz a<br></blockquote></blockquote><blockquote><blockquote>inscrição, é como assinar um contrato, aceitando as regras e a autoridade<br></blockquote></blockquote><blockquote><blockquote>do juri.<br></blockquote></blockquote><blockquote><blockquote><br></blockquote></blockquote><blockquote><blockquote>Zélia Chueke<br></blockquote></blockquote><blockquote><blockquote><br></blockquote></blockquote><blockquote><blockquote><br></blockquote></blockquote><blockquote><blockquote><blockquote>Concordo com o Carlos. Ou seja, a inscrição para um concurso pressupõe<br></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote>que o candidato está disposto a aceitar o resultado. Aliás. uma vez<br></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote>que o candidato tocou, o resultado passa a ser inteiramente uma<br></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote>consideração do juri e deixa imediatamente de ser um assunto do<br></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote>candidato. Neste tipo de situação, uns tocam e outros decidem, os<br></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote>papéis são muito claros e não se misturam. Quem não entende esta<br></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote>premissa e não concorda que não entre em concurso porque estes são os<br></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote>termos.<br></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote>Cristina Capparelli Gerling<br></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote><br></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote><br></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote>Citando Carlos Palombini <<a href="mailto:cpalombini@gmail.com">cpalombini@gmail.com</a>>:<br></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote><br></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote><blockquote>Como disse Abbie Hoffman: "My critique of democracy begins and ends with<br></blockquote></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote><blockquote>this point. Kids must be educated to disrespect authority or else<br></blockquote></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote><blockquote>democracy<br></blockquote></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote><blockquote>is a farce." Ou, numa tradução livre: "Minha crítica à democracia começa<br></blockquote></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote><blockquote>e<br></blockquote></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote><blockquote>termina aqui. Neguim deve ser educado para desrespeitar a autoridade, se<br></blockquote></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote><blockquote>não, a democracia é uma farsa."<br></blockquote></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote><blockquote><br></blockquote></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote><blockquote>cp<br></blockquote></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote><blockquote><br></blockquote></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote><blockquote>--<br></blockquote></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote><blockquote>carlos palombini<br></blockquote></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote><blockquote><a href="http://www.researcherid.com/rid/F-7345-2011" target="_blank">www.researcherid.com/rid/F-7345-2011</a><br></blockquote></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote><blockquote><br></blockquote></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote><br></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote><br></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote><br></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote>________________________________________________<br></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote>Lista de discussões ANPPOM<br></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote><a href="http://iar.unicamp.br/mailman/listinfo/anppom-l" target="_blank">http://iar.unicamp.br/mailman/listinfo/anppom-l</a><br></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote>________________________________________________<br></blockquote></blockquote></blockquote><blockquote><blockquote><blockquote><br></blockquote></blockquote></blockquote><blockquote><blockquote><br></blockquote></blockquote><blockquote><blockquote><br></blockquote></blockquote><blockquote><blockquote>Zélia Chueke, DMA<br></blockquote></blockquote><blockquote><blockquote>Pianist - researcher<br></blockquote></blockquote><blockquote><blockquote>Professor of Music- DeArtes, UFPR<br></blockquote></blockquote><blockquote><blockquote>Permanent Researcher - Observatoire Musical Français/Sorbonne,Paris 4<br></blockquote></blockquote><blockquote><blockquote><a href="http://www.zeliachueke.com" target="_blank">www.zeliachueke.com</a><br></blockquote></blockquote><blockquote><blockquote><br></blockquote></blockquote><blockquote><blockquote><br></blockquote></blockquote><blockquote><br></blockquote><blockquote><br></blockquote><blockquote><br></blockquote><blockquote>________________________________________________<br></blockquote><blockquote>Lista de discussões ANPPOM<br></blockquote><blockquote><a href="http://iar.unicamp.br/mailman/listinfo/anppom-l" target="_blank">http://iar.unicamp.br/mailman/listinfo/anppom-l</a><br></blockquote><blockquote>________________________________________________<br></blockquote><br></div></blockquote></div><br><br>________________________________________________
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