Mimesis, Gestures And The Origin Of Neumes In Adorno’s Towards A Theory Of Musical Reproduction (Brief Remarks)

Detalhes bibliográficos
Autor(a) principal: Seiça, Alberto Medina de
Data de Publicação: 2021
Tipo de documento: Artigo
Idioma: por
Título da fonte: Per Musi
Texto Completo: https://periodicos.ufmg.br/index.php/permusi/article/view/25895
Resumo: Although the paleographical approach remains essential in the scholarly research focused on the origins, dissemination, and functions of the earliest notational systems used in medieval plainsong, historical Musicology is open to new methodologies. This article seeks to analyse some topics about the origins of chant notation from the perspective of the critical theory of Theodor W. Adorno. In his unfinished “Towards a Theory of Musical Reproduction”, Adorno reflected on the specificities of the notational system, which he sought to comprehend in light of the nuclear concept of Mimesis. For him, "the musical symbols chosen to wrest the music are images of gestures", serving the function of social control. Nonetheless the progressive rationalization of music (indispensable for its aesthetic autonomy) has faded its mimetic dimension, the former continues to be remarkable on the graphic signs. It seems important to critically (re)adress this challenging and interpellant theoretical discourse.
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spelling Mimesis, Gestures And The Origin Of Neumes In Adorno’s Towards A Theory Of Musical Reproduction (Brief Remarks)Mímesis, gestualidad y los "orígenes" de la escritura neumática gregoriana en Hacia una Teoría de la Interpretación Musical de Adorno (breves notas)Mimésis, géstica e as “origens” da escrita neumática gregoriana em Zu einer Theorie der musikalischen Reproduktion de Adorno (breves notas)AdornoNeumatic notationMimesisCheironomyAdornoNotação neumáticaMimésisQuironomiaAdornoNotación neumáticaMimesisQuironomíaAlthough the paleographical approach remains essential in the scholarly research focused on the origins, dissemination, and functions of the earliest notational systems used in medieval plainsong, historical Musicology is open to new methodologies. This article seeks to analyse some topics about the origins of chant notation from the perspective of the critical theory of Theodor W. Adorno. In his unfinished “Towards a Theory of Musical Reproduction”, Adorno reflected on the specificities of the notational system, which he sought to comprehend in light of the nuclear concept of Mimesis. For him, "the musical symbols chosen to wrest the music are images of gestures", serving the function of social control. Nonetheless the progressive rationalization of music (indispensable for its aesthetic autonomy) has faded its mimetic dimension, the former continues to be remarkable on the graphic signs. It seems important to critically (re)adress this challenging and interpellant theoretical discourse.En la investigación musicológica sobre las orígenes, difusión y funciones de los primeros sistemas de escritura musical en el contexto del repertorio gregoriano, la perspectiva paleográfica ha asumido un papel esencial. Pero es evidente que muchas otras metodologías y enfoques teóricos contribuyen a densificar el horizonte de comprensión de la musicología histórica. En estas notas, tratamos de considerar la lectura de Theodor Adorno, en su proyecto inacabado "Zu einer Theorie der musikalischen Reproduktion", de la aparición de la notación musical. Reflexionando sobre las especificidades del sistema notacional, Adorno lo entiende a la luz del operador conceptual nuclear de la Mímesis. Aunque la progresiva racionalización de la música había desdibujado la dimensión mimética original, ésta persistiría de forma latente en los signos gráficos, entendidos como "imágenes de gestos" y como instrumentos de control social.Na investigação musicológica sobre as origens, difusão e funções dos primeiros sistemas de escrita musical no contexto do repertório gregoriano, a perspectiva paleográfica tem assumido um papel essencial. Mas é claro que muitas outras metodologias e abordagens teoréticas concorrem para densificar o horizonte de compreensão da Musicologia histórica. Nestas notas, procuramos considerar a leitura que Theodor Adorno, no seu projecto inacabado “Zu einer Theorie der musikalischen Reproduktion”, faz da emergência da notação musical. Reflectindo sobre as especificidades do sistema notacional, Adorno compreende-o à luz do nuclear operador conceptual de Mimésis. Apesar da progressiva racionalização da música ter esbatido a originária dimensão mimética, ela perduraria de forma latente nos sinais gráficos, entendidos como “imagens de gestos” e como instrumentos de controle social.Universidade Federal de Minas Gerais (UFMG)2021-05-11info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionTextoTextoinfo:eu-repo/semantics/otherapplication/pdfhttps://periodicos.ufmg.br/index.php/permusi/article/view/2589510.35699/2317-6377.2020.25895Per Musi; No. 40 (2020): General Topics; 1-23Per Musi; Núm. 40 (2020): General Topics; 1-23Per Musi; n. 40 (2020): General Topics; 1-232317-63771517-7599reponame:Per Musiinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGporhttps://periodicos.ufmg.br/index.php/permusi/article/view/25895/26987Copyright (c) 2021 Per Musihttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessSeiça, Alberto Medina de 2021-07-09T22:44:41Zoai:periodicos.ufmg.br:article/25895Revistahttp://www.scielo.br/revistas/pm/iaboutj.htmPUBhttps://old.scielo.br/oai/scielo-oai.phpantoniom@fgvnf.br||permusi@ufmg.br2317-63771517-7599opendoar:2021-07-09T22:44:41Per Musi - Universidade Federal de Minas Gerais (UFMG)false
dc.title.none.fl_str_mv Mimesis, Gestures And The Origin Of Neumes In Adorno’s Towards A Theory Of Musical Reproduction (Brief Remarks)
Mímesis, gestualidad y los "orígenes" de la escritura neumática gregoriana en Hacia una Teoría de la Interpretación Musical de Adorno (breves notas)
Mimésis, géstica e as “origens” da escrita neumática gregoriana em Zu einer Theorie der musikalischen Reproduktion de Adorno (breves notas)
title Mimesis, Gestures And The Origin Of Neumes In Adorno’s Towards A Theory Of Musical Reproduction (Brief Remarks)
spellingShingle Mimesis, Gestures And The Origin Of Neumes In Adorno’s Towards A Theory Of Musical Reproduction (Brief Remarks)
Seiça, Alberto Medina de
Adorno
Neumatic notation
Mimesis
Cheironomy
Adorno
Notação neumática
Mimésis
Quironomia
Adorno
Notación neumática
Mimesis
Quironomía
title_short Mimesis, Gestures And The Origin Of Neumes In Adorno’s Towards A Theory Of Musical Reproduction (Brief Remarks)
title_full Mimesis, Gestures And The Origin Of Neumes In Adorno’s Towards A Theory Of Musical Reproduction (Brief Remarks)
title_fullStr Mimesis, Gestures And The Origin Of Neumes In Adorno’s Towards A Theory Of Musical Reproduction (Brief Remarks)
title_full_unstemmed Mimesis, Gestures And The Origin Of Neumes In Adorno’s Towards A Theory Of Musical Reproduction (Brief Remarks)
title_sort Mimesis, Gestures And The Origin Of Neumes In Adorno’s Towards A Theory Of Musical Reproduction (Brief Remarks)
author Seiça, Alberto Medina de
author_facet Seiça, Alberto Medina de
author_role author
dc.contributor.author.fl_str_mv Seiça, Alberto Medina de
dc.subject.por.fl_str_mv Adorno
Neumatic notation
Mimesis
Cheironomy
Adorno
Notação neumática
Mimésis
Quironomia
Adorno
Notación neumática
Mimesis
Quironomía
topic Adorno
Neumatic notation
Mimesis
Cheironomy
Adorno
Notação neumática
Mimésis
Quironomia
Adorno
Notación neumática
Mimesis
Quironomía
description Although the paleographical approach remains essential in the scholarly research focused on the origins, dissemination, and functions of the earliest notational systems used in medieval plainsong, historical Musicology is open to new methodologies. This article seeks to analyse some topics about the origins of chant notation from the perspective of the critical theory of Theodor W. Adorno. In his unfinished “Towards a Theory of Musical Reproduction”, Adorno reflected on the specificities of the notational system, which he sought to comprehend in light of the nuclear concept of Mimesis. For him, "the musical symbols chosen to wrest the music are images of gestures", serving the function of social control. Nonetheless the progressive rationalization of music (indispensable for its aesthetic autonomy) has faded its mimetic dimension, the former continues to be remarkable on the graphic signs. It seems important to critically (re)adress this challenging and interpellant theoretical discourse.
publishDate 2021
dc.date.none.fl_str_mv 2021-05-11
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
Texto
Texto
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dc.identifier.uri.fl_str_mv https://periodicos.ufmg.br/index.php/permusi/article/view/25895
10.35699/2317-6377.2020.25895
url https://periodicos.ufmg.br/index.php/permusi/article/view/25895
identifier_str_mv 10.35699/2317-6377.2020.25895
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://periodicos.ufmg.br/index.php/permusi/article/view/25895/26987
dc.rights.driver.fl_str_mv Copyright (c) 2021 Per Musi
http://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2021 Per Musi
http://creativecommons.org/licenses/by/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
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. 40 (2020): General Topics; 1-23
Per Musi; Núm. 40 (2020): General Topics; 1-23
Per Musi; n. 40 (2020): General Topics; 1-23
2317-6377
1517-7599
reponame:Per Musi
instname:Universidade Federal de Minas Gerais (UFMG)
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instname_str Universidade Federal de Minas Gerais (UFMG)
instacron_str UFMG
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reponame_str Per Musi
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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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