Fala flauta : a study of tonguing syllabes indicated by Silvestro Ganassi (1535) and Bartolomeo Bismantova (1677) and their use by brazilian recorder players / Fala flauta : um estudo sobre as articulações indicadas por Silvestro Ganassi (1535) e Bartolomeo Bismantova (1677) e sua aplicabilidade a interpretes brasileiros de flauta doce

AUTOR(ES)
DATA DE PUBLICAÇÃO

2008

RESUMO

This study investigates the use of syllable tonguing in recorder performance during the Italian Renaissance and Baroque periods through the analyses of the Fontegara (1535) treatise, by Silvestro Ganassi and the Compendio Musicale (1677) treatise, by Bartolomeo Bismantova. For a comprehensive understanding of this subject, first it was defined how recorder tonguing articulation occurs, then an analysis was conducted on the musical context and role of the instrument during the relevant period in the cities where these authors worked, and finally parallels were drawn against contemporary speech and singing. On the last part the instructions about tonguing syllables from Ganassi and Bismantova were transcribed, translated and comented in details. The major purpose of this study was to instruct Brazilian performers on how to implement such tonguing articulations and fit them into repertoires, which may include works not exclusively from that period. The methodology used for the analysis was an interpretation of the treatises and related literature that is associated with the author s experience as a performer. Phonetic concepts were used to explain the recorder tonguing articulations, and the descriptions were structured to be easily comprehensible by any reader. It was found that the most evidence of recorder use in Italy during the 16th and 17th centuries was apparent at religious orders, academies and informal situations; the instrument was used less frequently in professional settings, but was very appreciated by amateur noblemen. It was concluded that the spoken and sung voices influenced instrumental performance during the 16th and 17th centuries, that the language used as reference by performers was Tuscan dialect, and that the language expressiveness was emphasized in recorder performance through techniques of dynamics and irregular tonguing. It was also observed that the main tonguing syllables displayed in the treatises were te, de, re, le and che, specially the combinations te-re, lere and te-che. The most prominent difference between Italians and Brazilians use of tonguing syllables is the preference for the open vowel e [?] by the former and u [?] by the latter.

ASSUNTO(S)

recorder ganassi renaissance articulação renascença musica barroca baroque flauta doce

ACESSO AO ARTIGO

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