Roland Barthesa música como linguagem do corpo

Resumo

In this article, we will discuss the musical thought of Barthes from three texts. Two of them were published in L’Obvie et l’obtus a volume of critical essays given to the area of visible (image, photography and painting) and to the one of music: Musica Pratica (1970) and Ecoute (1976). The third, Grain de la voix (1972), was published in the French review Musique en jeu that is available in the second volume of Oeuvres complètes of Roland Barthes. Referring to musical works and compositors, Barthes develops his thought distinguishing the music that we listen from the music we play; he shows how an interpretation of music is possible without using an adjective, or linguistics, looking in the significance revealed in the grain de la voix; showing difference between significant and signified, he presents three levels of listening and defines what modern listening is. In these three essays, placing himself at the reception side of a work or as an amateur, Barthes reconciles the body with the modernity and thinks about a musical aesthetic of pleasure encouraging an attitude of the listener similar to the one of the maestro or the interpret.

Ficha do documento

Tipo

Artigo científico

Ano

2017

Instituição

Universidade Federal do Rio Grande do Sul

Fonte

Repositório da FGV

Idioma

Português

Acesso

Acesso aberto

Identificador

oai:repositorio.fgv.br:10438/33165

Palavras-chave

SignifianceSignificanteSignificadoModernidadeCorpoIntérpreteSignificantSignifiedModernityBodyInterpretCiências sociaisMusicologia da dançaBarthes, Roland, 1915-1980Linguagem corporal