O espetáculo semiótico do Cancioneiro da Paraíba: canto, gesto e verbalização

• Autor(a) principal: Rodrigues, Marisa Nóbrega
• Data de Publicação: 2012
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UFPB
• Texto Completo: https://repositorio.ufpb.br/jspui/handle/tede/6206
• topic: Tensão e Significação; Semiótica da Canção; Modelos Pancrônicos; Tension and Meaning; Semiotics of the Song; Pancronical Models; LINGUISTICA, LETRAS E ARTES::LETRAS

This research is aimed at analyzing how the rhymes and songs recorded in the Cancioneiro da Paraíba (1993), organized by Idelette Fonseca dos Santos and Maria de Fátima Barbosa de Mesquita Batista, were re-signified in processes of collective musical creation. The theory- base that caught our eye was the Greimas Semiotics, complemented by the Semiotics of Song, developed by Luiz Tatit, which in turn is based on the Zilberberg tensivity. We did a trace from the standart semiotics to the present day with of Zilberberg´s Tensile Semiotics to then understand how stress levels occur in the song. Among the followers of Greimas Semiotics, we emphasize the Brazilian Cidmar Teodoro Pais that widened the concept of pancronia, in which the system is considered to be in continuous change. We dialogue, even with music educators who use the rhymes and songs in the process of teaching music to promote musical creation and develop the triad body / movement / speech. The methodology adopted was research allowing interaction between teacher and student discipline Workshop I Basic Arts (Music) undergraduate degree in Art and Media of the Federal University of Campina Grande (UFCG). The participants were thirty students enrolled in that course, and of course the professor and the author of this research. The research was approved by the Ethics Committee of the State University of Paraiba, and occurred during the sixty hours / class for the period 2010.2. In this space of sonic experimentation, creating musical sounds produced by the body and alternative musical instruments, built by students and / or researched at the central market of Campina Grande, Paraíba associated with Cancioneiro da Paraíba, performed several musical productions, from small to improvisation to collective elaborate arrangements and compositions. The whole process was agreed to and evaluated constantly by the subjects involved. Of the universe of one hundred seventeen and forty-two songs contained in the rhymes of Cancioneiro da Paraíba (SANTOS; BATISTA, 1993), the choice for use in the classroom was made by the subjects involved in research - students, professor and teacher / researcher - that in continuous interaction, made their choices. Having completed the research ie, the interaction with the class I OBA (Music), the researcher had his pick of corpus for analysis, using as criteria those experiments of the most dense musical information, which were used in three rhymes experimentos mais densos de informação musical, nos quais foram utilizadas três parlendas Hoje é domingo, O carrapixo and Um, dois, and seven songs - produced and arranged in the form of suite - La Condessa and Rica-rica, Camélia and O Cravo e a Rosa, Ci ci, Laranjinha, Alecrim do Campo and Escravos de Jó., thus, it was proved that the Cancioneiro da Paraíba is reborn though every performance, every utterance and the most diverse contexts. Furthermore, it was evident that the rhymes and songs are excellent resources for sound experiments of collective creation and, through them, we promote understanding of concepts such as musical beat, ostinato, real rhythm. We observed that the performance of the song does not happen equally and homogeneously, but is subject to constant change, not only in linguistic text, but also in the gesture and the musical text.