Discernment of shades of sadness in Guarnieri's Ponteios: an interpreter perspective
Autor(a) principal: | |
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Data de Publicação: | 2018 |
Outros Autores: | |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Per Musi |
Texto Completo: | https://periodicos.ufmg.br/index.php/permusi/article/view/5227 |
Resumo: | Four of Guarnieri’s Ponteios for piano (numbers 11, 31, 36, and 41) bearing the expressive indication of sadness were prepared and performed live before audiences of graduate and undergraduate students (N = 63) or students belonging to a university music theory and perception extension course (N = 65). Two emotional terms were chosen by the interpreter that better described his/her conception of sadness in the piece. Categorical and prototype models were selected for guiding the selection of these terms. Sound wave profile analysis and interpretative choices by the interpreter were employed to classify the assigned emotions in terms of the bidimensional categorical model of emotion, i.e., arousal polarized (flow of the events) and valence polarized (intensity of the signal). Differences in timing highlighting (or not), dynamic contrast levels and the presence or not of a climax were shown to be characteristics that contributed to these distinctions into two groups: those bearing the composer’s indication of Triste (Sad) – Ponteios 11 and 21; and those bearing the indication of Tristemente (Sadly) – Ponteios 36 and 41, with the latter provoking relatively higher (more negative) arousal and valence. |
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Discernment of shades of sadness in Guarnieri's Ponteios: an interpreter perspectiveDiscernimiento de matices de tristeza en Ponteios de Guarnieri: una perspectiva del intérpreteDiscernimento de nuanças de tristeza em Ponteios de Guarnieri: uma perspectiva do intérpreteemotion communicationmusic perceptionlive performancePonteiosGuarniericomunicação de emoçõespercepção musical 2performance ao vivoPonteiosGuarniericomunicación emocionalpercepción musical 2actuación en vivoPonteiosGuarnieriFour of Guarnieri’s Ponteios for piano (numbers 11, 31, 36, and 41) bearing the expressive indication of sadness were prepared and performed live before audiences of graduate and undergraduate students (N = 63) or students belonging to a university music theory and perception extension course (N = 65). Two emotional terms were chosen by the interpreter that better described his/her conception of sadness in the piece. Categorical and prototype models were selected for guiding the selection of these terms. Sound wave profile analysis and interpretative choices by the interpreter were employed to classify the assigned emotions in terms of the bidimensional categorical model of emotion, i.e., arousal polarized (flow of the events) and valence polarized (intensity of the signal). Differences in timing highlighting (or not), dynamic contrast levels and the presence or not of a climax were shown to be characteristics that contributed to these distinctions into two groups: those bearing the composer’s indication of Triste (Sad) – Ponteios 11 and 21; and those bearing the indication of Tristemente (Sadly) – Ponteios 36 and 41, with the latter provoking relatively higher (more negative) arousal and valence.Cuatro Ponteios de Guarnieri para piano (Nos. 11, 31, 36 y 41), con expresiva indicación de tristeza, fueron preparados y ejecutados en vivo ante una audiencia de estudiantes de pregrado y postgrado en Música (N = 63) o estudiantes pertenecientes a los talleres de teoría y percepción musical (N = 65). Dos términos fueron elegidos por el intérprete que mejor describió su concepción de la tristeza en cada pieza. Se seleccionaron categorías y modelos de prototipos para la selección de estos términos. El análisis del perfil de las ondas sonoras y las opciones interpretativas del intérprete se utilizaron para clasificar las emociones atribuidas en términos del modelo categórico bidimensional de emoción, es decir, polarizadas en la actividad (flujo de eventos) y polarizadas en la valencia (intensidad de la señal). Las diferencias en la valoración (o no) del tiempo, en los niveles de contraste de la dinámica y la presencia o no del clímax fueron características que contribuyeron a la distinción de estos Ponteios en dos grupos: los dotados de la indicación del compositor de Triste - Ponteios 11 y 21; y los dotados de la indicación Tristemente - Ponteios 36 y 41, estos últimos elevando la actividad y la valencia (más negativos).Quatro Ponteios para piano de Guarnieri (nos. 11, 31, 36 e 41), dotados de indicação expressiva de tristeza foram preparados e executados ao vivo perante uma plateia de estudantes de graduação e pós-graduação em Música (N = 63) ou de estudantes pertencentes às oficinas de extensão de teoria e percepção musical (N = 65). Dois termos foram escolhidos pelo(a) intérprete que melhor descrevessem sua concepção de tristeza em cada peça. Modelos categoriais e de protótipos foram selecionados para a seleção desses termos. Análise do perfil da onda sonora e as escolhas interpretativas do(a) intérprete foram empregadas para classificar as emoções atribuídas em termos do modelo categórico bidimensional de emoção, ou seja, polarizado na atividade (fluxo dos eventos) e polarizado na valência (intensidade do sinal). Diferenças na valorização (ou não) do timing, nos níveis de contraste de dinâmica e presença ou não de clímax foram características que contribuíram para distinção desses Ponteios em dois grupos: aqueles dotados da indicação do compositor de Triste – Ponteios 11 e 21; e aqueles com a indicação Tristemente – Ponteios 36 e 41, esses últimos suscitando maior atividade e valência (mais negativa).Universidade Federal de Minas Gerais (UFMG)2018-05-14info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersiontextotextoinfo:eu-repo/semantics/otherapplication/pdfimage/tiffimage/tiffimage/tiffimage/tiffimage/tiffimage/tiffimage/tiffimage/tiffimage/tiffimage/tiffimage/tiffimage/tiffimage/tiffimage/tiffimage/tiffimage/tiffhttps://periodicos.ufmg.br/index.php/permusi/article/view/522710.35699/2317-6377.2018.5227Per Musi; No. 38 (2018): General TopicsPer Musi; Núm. 38 (2018): General TopicsPer Musi; n. 38 (2018): General Topics2317-63771517-7599reponame:Per Musiinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGenghttps://periodicos.ufmg.br/index.php/permusi/article/view/5227/3249https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9443https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9444https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9445https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9446https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9447https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9448https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9449https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9450https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9451https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9452https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9453https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9454https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9455https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9456https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9457https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9458Rodrigues, RebeccaSantos, Regina Antunes Teixeira dosinfo:eu-repo/semantics/openAccess2020-02-27T19:14:53Zoai:periodicos.ufmg.br:article/5227Revistahttp://www.scielo.br/revistas/pm/iaboutj.htmPUBhttps://old.scielo.br/oai/scielo-oai.phpantoniom@fgvnf.br||permusi@ufmg.br2317-63771517-7599opendoar:2020-02-27T19:14:53Per Musi - Universidade Federal de Minas Gerais (UFMG)false |
dc.title.none.fl_str_mv |
Discernment of shades of sadness in Guarnieri's Ponteios: an interpreter perspective Discernimiento de matices de tristeza en Ponteios de Guarnieri: una perspectiva del intérprete Discernimento de nuanças de tristeza em Ponteios de Guarnieri: uma perspectiva do intérprete |
title |
Discernment of shades of sadness in Guarnieri's Ponteios: an interpreter perspective |
spellingShingle |
Discernment of shades of sadness in Guarnieri's Ponteios: an interpreter perspective Rodrigues, Rebecca emotion communication music perception live performance Ponteios Guarnieri comunicação de emoções percepção musical 2 performance ao vivo Ponteios Guarnieri comunicación emocional percepción musical 2 actuación en vivo Ponteios Guarnieri |
title_short |
Discernment of shades of sadness in Guarnieri's Ponteios: an interpreter perspective |
title_full |
Discernment of shades of sadness in Guarnieri's Ponteios: an interpreter perspective |
title_fullStr |
Discernment of shades of sadness in Guarnieri's Ponteios: an interpreter perspective |
title_full_unstemmed |
Discernment of shades of sadness in Guarnieri's Ponteios: an interpreter perspective |
title_sort |
Discernment of shades of sadness in Guarnieri's Ponteios: an interpreter perspective |
author |
Rodrigues, Rebecca |
author_facet |
Rodrigues, Rebecca Santos, Regina Antunes Teixeira dos |
author_role |
author |
author2 |
Santos, Regina Antunes Teixeira dos |
author2_role |
author |
dc.contributor.author.fl_str_mv |
Rodrigues, Rebecca Santos, Regina Antunes Teixeira dos |
dc.subject.por.fl_str_mv |
emotion communication music perception live performance Ponteios Guarnieri comunicação de emoções percepção musical 2 performance ao vivo Ponteios Guarnieri comunicación emocional percepción musical 2 actuación en vivo Ponteios Guarnieri |
topic |
emotion communication music perception live performance Ponteios Guarnieri comunicação de emoções percepção musical 2 performance ao vivo Ponteios Guarnieri comunicación emocional percepción musical 2 actuación en vivo Ponteios Guarnieri |
description |
Four of Guarnieri’s Ponteios for piano (numbers 11, 31, 36, and 41) bearing the expressive indication of sadness were prepared and performed live before audiences of graduate and undergraduate students (N = 63) or students belonging to a university music theory and perception extension course (N = 65). Two emotional terms were chosen by the interpreter that better described his/her conception of sadness in the piece. Categorical and prototype models were selected for guiding the selection of these terms. Sound wave profile analysis and interpretative choices by the interpreter were employed to classify the assigned emotions in terms of the bidimensional categorical model of emotion, i.e., arousal polarized (flow of the events) and valence polarized (intensity of the signal). Differences in timing highlighting (or not), dynamic contrast levels and the presence or not of a climax were shown to be characteristics that contributed to these distinctions into two groups: those bearing the composer’s indication of Triste (Sad) – Ponteios 11 and 21; and those bearing the indication of Tristemente (Sadly) – Ponteios 36 and 41, with the latter provoking relatively higher (more negative) arousal and valence. |
publishDate |
2018 |
dc.date.none.fl_str_mv |
2018-05-14 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion texto texto info:eu-repo/semantics/other |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://periodicos.ufmg.br/index.php/permusi/article/view/5227 10.35699/2317-6377.2018.5227 |
url |
https://periodicos.ufmg.br/index.php/permusi/article/view/5227 |
identifier_str_mv |
10.35699/2317-6377.2018.5227 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
https://periodicos.ufmg.br/index.php/permusi/article/view/5227/3249 https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9443 https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9444 https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9445 https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9446 https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9447 https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9448 https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9449 https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9450 https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9451 https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9452 https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9453 https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9454 https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9455 https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9456 https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9457 https://periodicos.ufmg.br/index.php/permusi/article/view/5227/9458 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
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openAccess |
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application/pdf image/tiff image/tiff image/tiff image/tiff image/tiff image/tiff image/tiff image/tiff image/tiff image/tiff image/tiff image/tiff image/tiff image/tiff image/tiff image/tiff |
dc.publisher.none.fl_str_mv |
Universidade Federal de Minas Gerais (UFMG) |
publisher.none.fl_str_mv |
Universidade Federal de Minas Gerais (UFMG) |
dc.source.none.fl_str_mv |
Per Musi; No. 38 (2018): General Topics Per Musi; Núm. 38 (2018): General Topics Per Musi; n. 38 (2018): General Topics 2317-6377 1517-7599 reponame:Per Musi instname:Universidade Federal de Minas Gerais (UFMG) instacron:UFMG |
instname_str |
Universidade Federal de Minas Gerais (UFMG) |
instacron_str |
UFMG |
institution |
UFMG |
reponame_str |
Per Musi |
collection |
Per Musi |
repository.name.fl_str_mv |
Per Musi - Universidade Federal de Minas Gerais (UFMG) |
repository.mail.fl_str_mv |
antoniom@fgvnf.br||permusi@ufmg.br |
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1799711235647733760 |