{"id":357,"date":"2022-03-13T00:40:22","date_gmt":"2022-03-13T00:40:22","guid":{"rendered":"https:\/\/carmojr.com\/palavracantada\/?page_id=357"},"modified":"2025-01-04T15:48:22","modified_gmt":"2025-01-04T15:48:22","slug":"patterns","status":"publish","type":"page","link":"https:\/\/carmojr.com\/palavracantada\/patterns\/","title":{"rendered":"Patterns"},"content":{"rendered":"<ul>\n<li aria-level=\"2\">\n<h2><b>Concatenando enunciados: <\/b><b><i>patterns<\/i><\/b><b> mel\u00f3dicos<\/b><\/h2>\n<\/li>\n<\/ul>\n<ul>\n<li aria-level=\"2\"><\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Dado que o enunciado mel\u00f3dico (de uma, duas ou tr\u00eas c\u00e9lulas) tende a associar-se ao verso, a melodia da can\u00e7\u00e3o tende a ser um certo arranjo de enunciados mel\u00f3dicos. De fato, uma can\u00e7\u00e3o pode ser integralmente baseada num \u00fanico enunciado que se repete por meio de variantes. Cada variante pode introduzir uma nova harmonia e um novo contorno mel\u00f3dico, embora a rela\u00e7\u00e3o estrutural de base entre nota, pulso, c\u00e9lula e enunciado permane\u00e7a a mesma. <\/span><i><span style=\"font-weight: 400;\">Deus lhe Pague<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Gita<\/span><\/i><span style=\"font-weight: 400;\"> e <\/span><i><span style=\"font-weight: 400;\">Lua de S\u00e3o Jorge<\/span><\/i><span style=\"font-weight: 400;\"> s\u00e3o exemplos desse tipo de melodia. Nesse tipo de constru\u00e7\u00e3o, uma \u00fanica grade estrutural \u00e9 necess\u00e1ria e suficiente para representar toda a can\u00e7\u00e3o. Evidentemente, tal estrutura de base pode tamb\u00e9m modificar-se, por exemplo, quando a can\u00e7\u00e3o \u00e9 constitu\u00edda de duas partes contrastantes. Mas a arquitetura geral da can\u00e7\u00e3o depende, fundamentalmente, de como s\u00e3o concebidos seus enunciados. A distribui\u00e7\u00e3o das pausas, assim como a presen\u00e7a ou n\u00e3o de anacruse e coda, determinam a maneira e as possibilidades de arranjo de enunciados, sendo tamb\u00e9m determinantes para a constitui\u00e7\u00e3o de certos <\/span><i><span style=\"font-weight: 400;\">patterns<\/span><\/i><span style=\"font-weight: 400;\"> mel\u00f3dicos, como veremos mais adiante.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Vimos que a rela\u00e7\u00e3o nota-pulso-c\u00e9lula-enunciado parece ser a estrutura b\u00e1sica da melodia da can\u00e7\u00e3o popular. Isso n\u00e3o quer dizer que ela n\u00e3o possua estruturas superiores, mas apenas que tais estruturas s\u00e3o como que formas cristalizadas pelo uso, padr\u00f5es recorrentes de constru\u00e7\u00e3o mel\u00f3dica que se servem da combina\u00e7\u00e3o de elementos musicais de modo mais ou menos livre. Se a ideia de uma hierarquia mel\u00f3dica funda-se na depend\u00eancia entre as partes que a constituem, os patterns baseiam-se na simples combina\u00e7\u00e3o de elementos e unidades, como se estes fossem m\u00f3dulos. Trata-se de algo semelhante \u00e0s formas fixas da versifica\u00e7\u00e3o, que nada mais s\u00e3o que combina\u00e7\u00f5es padronizadas de certo n\u00famero de versos. A forma <\/span><i><span style=\"font-weight: 400;\">soneto,<\/span><\/i><span style=\"font-weight: 400;\"> por exemplo, n\u00e3o constitui uma estrutura, no sentido forte da palavra, mas apenas uma forma can\u00f4nica da poesia l\u00edrica que se fixou pelo uso. Assim tamb\u00e9m na melodia.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Diferentemente da linguagem verbal, que evita a repeti\u00e7\u00e3o e a redund\u00e2ncia, a m\u00fasica \u00e9 fundamentalmente baseada na repeti\u00e7\u00e3o. Trata-se do que Tatit denomina de\u00a0 <\/span><i><span style=\"font-weight: 400;\">princ\u00edpio de anaforiza\u00e7\u00e3o<\/span><\/i><span style=\"font-weight: 400;\">. Consequentemente, a configura\u00e7\u00e3o dos <\/span><i><span style=\"font-weight: 400;\">patterns mel\u00f3dicos<\/span><\/i><span style=\"font-weight: 400;\"> \u00e9 em grande medida determinada pelo tipo de enunciado, uma vez que esta constitui o material de base a ser utilizado e reutilizado na constru\u00e7\u00e3o das formas superiores. A configura\u00e7\u00e3o mais simples desses <\/span><i><span style=\"font-weight: 400;\">patterns<\/span><\/i><span style=\"font-weight: 400;\"> consiste na repeti\u00e7\u00e3o pura e simples de enunciados seguidos de pausas curtas, como em <\/span><i><span style=\"font-weight: 400;\">A banda<\/span><\/i><span style=\"font-weight: 400;\">, por exemplo. Se o enunciado, digamos {<\/span><b>a<\/b><span style=\"font-weight: 400;\">}, se repete, o padr\u00e3o formado ser\u00e1 {<\/span><b>a a a a<\/b><span style=\"font-weight: 400;\">}.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">&lt;071.01-04&gt;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">S\u00edlaba \u00a0 \u00a0 \u00a0 <\/span><b>a<\/b><span style=\"font-weight: 400;\"> \u00a0 \u00a0 \u00a0 \u00a0 es ta\u00a0 va\u00a0 to \u00a0 a\u00a0 na\u00a0 vi\u00a0 \u00a0 \u00a0 da<\/span><\/p>\n<p><b>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0a\u00a0 \u00a0 <\/b><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0do\u00a0 meu\u00a0 a\u00a0 mor me\u00a0 cha mou<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><b>a<\/b><span style=\"font-weight: 400;\"> \u00a0 <\/span> <span style=\"font-weight: 400;\">\u00a0 \u00a0 pra ver\u00a0 a\u00a0 ban da\u00a0 pa\u00a0 ssar<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><b>a<\/b><span style=\"font-weight: 400;\">\u00a0 \u00a0 \u00a0 \u00a0 can tan do\u00a0 coi sas dja mor<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0* \u00a0 | \u00a0 | \u00a0 | \u00a0 | \u00a0 | \u00a0 | \u00a0 | \u00a0 * \u00a0 |\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Nota \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 N \u00a0 N \u00a0 N \u00a0 N \u00a0 N \u00a0 N\u00a0 &lt;N<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Pulso\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 P<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Cel\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 C \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 C<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Enunc\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 E<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">J\u00e1 vimos que um tal padr\u00e3o tende a tornar a melodia por demais r\u00edgida e previs\u00edvel. O aumento ou a diminui\u00e7\u00e3o das fronteiras entre os enunciados, sua soldagem ou degemina\u00e7\u00e3o, assim como a utiliza\u00e7\u00e3o de fragmentos de enunciados, s\u00e3o apenas alguns dos meios eficazes para introduzir variedade do desenvolvimento mel\u00f3dico.\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Uma das maneiras mais usuais de se quebrar o padr\u00e3o reiterativo da sequ\u00eancia de enunciados \u00e9 a simples introdu\u00e7\u00e3o de material mel\u00f3dico que permita a solda de duas enunciados subsequentes (geralmente o terceiro e o quarto de uma estrofe de quatro enunciados), resultando no <\/span><i><span style=\"font-weight: 400;\">pattern<\/span><\/i><span style=\"font-weight: 400;\">\u00a0 {<\/span><b>a a a_a<\/b><span style=\"font-weight: 400;\">}, como se v\u00ea em <\/span><i><span style=\"font-weight: 400;\">Casinha Feliz<\/span><\/i><span style=\"font-weight: 400;\">:<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">&lt;007.01&gt;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">S\u00edlaba \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 ON de\u00a0 \u00a0 \u00a0 re\u00a0 sis teo \u00a0 \u00a0 ser T\u00c3O<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0TO\u00a0 da\u00a0 \u00a0 \u00a0 ca\u00a0 si\u00a0 nha \u00a0 \u00a0 fe\u00a0 LIZ<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0IN de\u00a0 \u00a0 \u00a0 vi\u00a0 zi nha \u00a0 \u00a0 djum RI \u00a0 <\/span><b>a \u00a0 \u00a0 chin da tem\u00a0 \u00a0 \u00a0 seu<\/b><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0P\u00c9\u00a0 de\u00a0 \u00a0 \u00a0 ca\u00a0 ra\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 man CH\u00c3O<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0| \u00a0 | \u00a0 * \u00a0 | \u00a0 | \u00a0 | \u00a0 * \u00a0 | \u00a0 | \u00a0 | \u00a0 * \u00a0 | \u00a0 | \u00a0 | \u00a0 * \u00a0 |\u00a0\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Nota \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 N \u00a0 N \u00a0 \u00a0 \u00a0 N \u00a0 N \u00a0 N \u00a0 \u00a0 \u00a0 N \u00a0 N \u00a0 N \u00a0 \u00a0 \u00a0 N \u00a0 N \u00a0 N \u00a0 \u00a0 \u00a0 N\u00a0\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Pulso\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 P\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Cel\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 C \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 C<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Enunc\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 E<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Outro <\/span><i><span style=\"font-weight: 400;\">pattern<\/span><\/i><span style=\"font-weight: 400;\"> muito frequentado por Luis Gonzaga (<\/span><i><span style=\"font-weight: 400;\">Asa Branca<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Assum Preto<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">Que nem Jil\u00f3<\/span><\/i><span style=\"font-weight: 400;\">) consiste numa sequ\u00eancia de dois enunciados delimitados por pausa curta seguidos de tr\u00eas enunciados degeminados {<\/span><b>a a a\u1d54a\u1d54a<\/b><span style=\"font-weight: 400;\">}.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">&lt;031.01-04&gt;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">S\u00edlaba \u00a0 <\/span><b>a<\/b><span style=\"font-weight: 400;\"> \u00a0 \u00a0 \u00a0 \u00a0 quan doj EJ \u00a0 \u00a0 \u00a0 a\u00a0 \u00a0 \u00a0 te\u00a0 \u00a0 \u00a0 rrar\u00a0 \u00a0 DEN \u00a0 \u00a0 do<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><b>a<\/b><span style=\"font-weight: 400;\"> \u00a0 \u00a0 \u00a0 \u00a0 qua fo\u00a0 GUEJ \u00a0 \u00a0 ra\u00a0 \u00a0 \u00a0 de\u00a0 \u00a0 \u00a0 s\u00e3o\u00a0 \u00a0 JO\u00c3O<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><b>a\u1d54a<\/b><span style=\"font-weight: 400;\"> \u00a0 \u00a0 eu per gun TE\u00a0 \u00a0 \u00a0 ei \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 a Deus do\u00a0 C\u00c9U\u00a0 \u00a0 \u00a0 aj<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><b>a\u1d54a<\/b><span style=\"font-weight: 400;\">\u00a0 \u00a0 por que ta\u00a0 MA\u00a0 \u00a0 \u00a0 nha \u00a0 \u00a0 \u00a0 \u00a0 ju\u00a0 di \u00a0 a\u00a0 \u00c7\u00c3O<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0| \u00a0 | \u00a0 | \u00a0 | \u00a0 * \u00a0 | \u00a0 * \u00a0 | \u00a0 | \u00a0 | \u00a0 | \u00a0 | \u00a0 * \u00a0 | \u00a0 * \u00a0 *<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Nota \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 N \u00a0 N \u00a0 N \u00a0 N \u00a0 \u00a0 \u00a0 N \u00a0 \u00a0 \u00a0 N \u00a0 N \u00a0 N \u00a0 N \u00a0 N \u00a0 \u00a0 \u00a0 N\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Pulso\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 P<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Cel\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 C \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 C<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Enunc\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 E<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">A degemina\u00e7\u00e3o dos tr\u00eas enunciados finais fica mais evidente na grade abaixo.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Embora o n\u00famero de tais combina\u00e7\u00f5es seja muito grande, ele certamente n\u00e3o \u00e9 ilimitado. Uma taxonomia da melodia popular baseada em tais esquemas poderia nos ajudar a entender melhor como certas combina\u00e7\u00f5es est\u00e3o associadas a certos g\u00eaneros e principalmente a certos estilos tensivos. A elabora\u00e7\u00e3o de uma tal taxonomia constitui uma tarefa de grande f\u00f4lego, que certamente depende da colabora\u00e7\u00e3o de v\u00e1rios pesquisadores e, nesse sentido, foge aos prop\u00f3sitos da\u00a0 presente investiga\u00e7\u00e3o.<\/span><\/p>\n<ul>\n<li aria-level=\"2\">\n<h2><b>5. Desconstruindo o enunciado mel\u00f3dico<\/b><\/h2>\n<\/li>\n<\/ul>\n<p><b><\/b><\/p>\n<p><span style=\"font-weight: 400;\">O enunciado mel\u00f3dico parece ser a mais extensa unidade da hierarquia mel\u00f3dica. Isto quer dizer que, partindo do elemento terminal, a nota, ascendemos na estrutura mel\u00f3dica passando pelo pulso, pela c\u00e9lula, e chegamos ao enunciado, para al\u00e9m da qual n\u00e3o encontramos mais estruturas baseadas em depend\u00eancias internas<\/span><span style=\"font-weight: 400;\">.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">O fato de constatarmos a exist\u00eancia de tal estrutura em in\u00fameras can\u00e7\u00f5es (todas as can\u00e7\u00f5es vistas at\u00e9 aqui) n\u00e3o implica que toda can\u00e7\u00e3o seja redut\u00edvel a ela. De fato, o universo da can\u00e7\u00e3o \u00e9 muito mais amplo. Como mostrou Tatit<\/span><span style=\"font-weight: 400;\">, a can\u00e7\u00e3o \u00e9 o lugar de encontro da <\/span><i><span style=\"font-weight: 400;\">forma mel\u00f3dica<\/span><\/i><span style=\"font-weight: 400;\"> com a <\/span><i><span style=\"font-weight: 400;\">for\u00e7a entoativa. <\/span><\/i><span style=\"font-weight: 400;\">Esta \u00faltima, estreitamente vinculada \u00e0 situa\u00e7\u00e3o da enuncia\u00e7\u00e3o, rebate os princ\u00edpios de estrutura\u00e7\u00e3o e organiza\u00e7\u00e3o que a forma mel\u00f3dica tenta lhe impor. A espontaneidade da fala \u00e9 o elemento primitivo e essencial da can\u00e7\u00e3o popular, e est\u00e1 na contram\u00e3o da forma musical. A can\u00e7\u00e3o popular parece ser, assim, muito mais a arena de luta entre for\u00e7as opostas que o resultado natural de uma compatibilidade entre letra e melodia.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Dado que o objeto das nossa investiga\u00e7\u00f5es \u00e9 a natureza e os princ\u00edpios que regem a hierarquia mel\u00f3dica, focamos nosso trabalho na forma mel\u00f3dica, e todos as can\u00e7\u00f5es analisadas, bem como os processos fonol\u00f3gicos descritos, s\u00e3o exemplos do poder da estrutura\u00e7\u00e3o da melodia sobre o livre curso da fala natural e espont\u00e2nea.\u00a0 Mas precisamos nos deter, ainda que brevemente, sobre alguns exemplos de desconstru\u00e7\u00e3o das estruturas mel\u00f3dicas que decorrem da figurativiza\u00e7\u00e3o<\/span><span style=\"font-weight: 400;\">, at\u00e9 mesmo para tentar avaliar o poder descritivo da hierarquia mel\u00f3dica em can\u00e7\u00f5es que n\u00e3o se adequam ao modelo can\u00f4nico do enunciado mel\u00f3dico elementar. Mais que isso, acreditamos que a grade estrutural pode revelar aspectos importantes sobre o comportamento r\u00edtmico de melodias figurativizadas.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Tatit mostrou que a fala est\u00e1 presente na melodia da can\u00e7\u00e3o popular por meio de um <\/span><i><span style=\"font-weight: 400;\">princ\u00edpio de deitiza\u00e7\u00e3o<\/span><\/i><span style=\"font-weight: 400;\">, pelo qual certas inflex\u00f5es entoativas s\u00e3o introduzidas em pontos chave dos segmentos mel\u00f3dicos. \u00c9 certo que n\u00e3o podemos avan\u00e7ar muito nesse terreno, uma vez que a\u00a0 grade estrutural n\u00e3o fornece informa\u00e7\u00e3o alguma sobre estas inflex\u00f5es. Em contrapartida, ela pode nos dar pistas importantes sobre o comportamento r\u00edtmico das melodias figurativizadas.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Vejamos o caso de <\/span><i><span style=\"font-weight: 400;\">Conversa de botequim.<\/span><\/i><span style=\"font-weight: 400;\"> Embora n\u00e3o apresente a regularidade de uma melodia tem\u00e1tica como, digamos, <\/span><i><span style=\"font-weight: 400;\">A banda <\/span><\/i><span style=\"font-weight: 400;\">ou <\/span><i><span style=\"font-weight: 400;\">Caju\u00edna<\/span><\/i><span style=\"font-weight: 400;\">, apenas para retomar can\u00e7\u00f5es j\u00e1 mencionadas aqui, <\/span><i><span style=\"font-weight: 400;\">Conversa de botequim<\/span><\/i><span style=\"font-weight: 400;\"> exibe sim uma estrutura desviante, mas preserva elementos elementos estruturais importantes. As balizas harm\u00f4nicas do enunciado elementar est\u00e3o presentes aqui assim como a associa\u00e7\u00e3o nota-s\u00edlaba. De fato, este parece ser o comportamento r\u00edtmico predominante das melodias figurativas, o que mostra que, mesmo nesses casos, a hierarquia mel\u00f3dica \u00e9 uma ferramenta \u00fatil de an\u00e1lise.\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">&lt;048.01-04&gt;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">S\u00edlaba \u00a0 \u00a0 \u00a0 seu gar \u00c7OM fa\u00a0 \u00e7o\u00a0 fa\u00a0 VOR de\u00a0 me\u00a0 tra ZER de \u00a0 \u00a0 pre\u00a0 \u00a0 \u00a0 ssa<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0U\u00a0 ma\u00a0 bo \u00a0 a\u00a0 ME\u00a0 dia que n\u00e3o SE\u00a0 ja\u00a0 \u00a0 \u00a0 re\u00a0 \u00a0 \u00a0 quen<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0ta\u00a0 \u00a0 \u00a0 dum p\u00e3o bem QUEN te com man TEI ga\u00a0 \u00a0 \u00a0 be\u00a0 \u00a0 \u00a0 um<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0guar da NA\u00a0 \u00a0 \u00a0 po\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 ewm co\u00a0 po\u00a0 DA\u00a0 gua bem ge\u00a0 LA\u00a0 da<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0| \u00a0 | \u00a0 | \u00a0 | \u00a0 | \u00a0 | \u00a0 | \u00a0 | \u00a0 | \u00a0 | \u00a0 | \u00a0 | \u00a0 | \u00a0 | \u00a0 | \u00a0 |\u00a0\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Nota\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 N \u00a0 N \u00a0 N \u00a0 N \u00a0 N \u00a0 N \u00a0 N \u00a0 N \u00a0 N \u00a0 N \u00a0 N \u00a0 N \u00a0 N\u00a0 &lt;N \u00a0 N \u00a0 N\u00a0\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Pulso \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 P\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Cel \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 C \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 C<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Enunc \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 E<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Vejamos agora alguns casos extremos. A dicotomia entre forma musical e a for\u00e7a entoativa que adv\u00e9m da fala cotidiana est\u00e1 cristalinamente estampada em duas das mais consagradas can\u00e7\u00f5es de Raul Seixas, <\/span><i><span style=\"font-weight: 400;\">Gita <\/span><\/i><span style=\"font-weight: 400;\">e <\/span><i><span style=\"font-weight: 400;\">Ouro de tolo<\/span><\/i><span style=\"font-weight: 400;\">. Na primeira o componente lingu\u00edstico mostra-se subjugado \u00e0 forma musical, que exibe quase que didaticamente os elementos estruturais sobre os quais temos trabalhado at\u00e9 aqui.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">&lt;047.03-06&gt;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">S\u00edlaba\u00a0 \u00a0 \u00a0 \u00e0s\u00a0 VE \u00a0 zes\u00a0 vo\u00a0 \u00a0 c\u00ea \u00a0 me \u00a0 per \u00a0 GUN\u00a0 ta<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0por KJE \u00a0 \u00a0 \u00a0 kjeu\u00a0 sou\u00a0 t\u00e3o\u00a0 ca\u00a0 \u00a0 LA \u00a0 do<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0n\u00e3o FA \u00a0 lo \u00a0 dja \u00a0 mor\u00a0 qua\u00a0 se\u00a0 \u00a0 NA \u00a0 da<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0nem fi \u00a0 co \u00a0 so\u00a0 \u00a0 rrin dwaw teu \u00a0 LA \u00a0 do<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0etc&#8230;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0| \u00a0 |\u00a0 \u00a0 |\u00a0 \u00a0 | \u00a0 \u00a0 |\u00a0 \u00a0 |\u00a0 \u00a0 | \u00a0 \u00a0 |\u00a0 \u00a0 |\u00a0 \u00a0 * \u00a0 \u00a0 *\u00a0 \u00a0 *\u00a0 \u00a0 *\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Nota \u00a0 \u00a0 \u00a0 \u00a0 N \u00a0 N\u00a0 \u00a0 N\u00a0 \u00a0 N \u00a0 \u00a0 N\u00a0 \u00a0 N\u00a0 \u00a0 N \u00a0 \u00a0 N\u00a0 \u00a0 N<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Pulso\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 P<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Cel\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 C \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 C<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Enunc\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 E<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">J\u00e1 <\/span><i><span style=\"font-weight: 400;\">Ouro de tolo<\/span><\/i><span style=\"font-weight: 400;\"> mostra a outra face da moeda. Aqui a presen\u00e7a da fala \u00e9 a tal ponto dominante que torna t\u00e3o dif\u00edcil quanto desnecess\u00e1ria qualquer representa\u00e7\u00e3o da melodia. Vale a pena observar, por\u00e9m, que apesar de hiperfigurativizada, <\/span><i><span style=\"font-weight: 400;\">Ouro de tolo <\/span><\/i><span style=\"font-weight: 400;\">apresenta ao menos dois dos tra\u00e7os da forma mel\u00f3dica: o alinhamento nota-s\u00edlaba e os dois acordes que servem de n\u00facleo \u00e0 c\u00e9lulas do enunciado. Ali\u00e1s, \u00e9 exatamente esta \u00faltima propriedade que cria o efeito\u00a0 de sentido de que a can\u00e7\u00e3o \u00e9 feita de frases mel\u00f3dicas, apenas que excessivamente longas e saturadas de s\u00edlabas. Assim:<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">&lt;072&gt;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">S\u00edlaba \u00a0 \u00a0 <\/span><b>\u00a0<\/b><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0Eu\u00a0 de\u00a0 VI&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.por M\u00caS<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><b>\u00a0<\/b><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0Eu\u00a0 de\u00a0 VI&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.se\u00a0 TEN e tr\u00eas<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><b>\u00a0<\/b><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0Eu\u00a0 de\u00a0 VI&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.ma RA vi LHO sa<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><b>\u00a0<\/b><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0Eu\u00a0 de\u00a0 VI&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;..pe ri GO sa<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0etc&#8230;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0| \u00a0 | \u00a0 | | | | | | | | | | | | | | | | | | | | | |\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Nota \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 N \u00a0 N \u00a0 N &#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;. N N N N N<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Cel\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 C \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 C<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Enunc\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 E<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Encontramos um contraste semelhante quando comparamos duas can\u00e7\u00f5es de Caetano Veloso, <\/span><i><span style=\"font-weight: 400;\">Lua de S\u00e3o Jorge<\/span><\/i><span style=\"font-weight: 400;\">, dominada pela forma mel\u00f3dica, e <\/span><i><span style=\"font-weight: 400;\">O estrangeiro<\/span><\/i><span style=\"font-weight: 400;\">, dominada pelo princ\u00edpio de figurativiza\u00e7\u00e3o.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">&lt;073.01-04&gt;\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">S\u00edlaba<\/span> <span style=\"font-weight: 400;\"> LU \u00a0 a\u00a0 \u00a0 \u00a0 de\u00a0 S\u00c3O \u00a0 \u00a0 \u00a0 \u00a0 jor \u00a0 \u00a0 \u00a0 \u00a0 ge<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0LU \u00a0 a\u00a0 \u00a0 \u00a0 des LUM \u00a0 \u00a0 \u00a0 \u00a0 bran\u00a0 \u00a0 \u00a0 \u00a0 te\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0A\u00a0 zul \u00a0 \u00a0 ver VE\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 jan \u00a0 \u00a0 \u00a0 \u00a0 te\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0CAU da\u00a0 \u00a0 \u00a0 de\u00a0 PA\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 v\u00e3o<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0| \u00a0 | \u00a0 * \u00a0 | \u00a0 | \u00a0 * \u00a0 * \u00a0 | \u00a0 * \u00a0 * \u00a0 | \u00a0 * \u00a0 *\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Nota\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 N \u00a0 N \u00a0 \u00a0 \u00a0 N \u00a0 N\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 &lt;N \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 N\u00a0\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Pulso \u00a0 \u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 P\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Cel \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 C \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 C\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Enunc \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 E<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Note-se que em <\/span><i><span style=\"font-weight: 400;\">O estrangeiro<\/span><\/i><span style=\"font-weight: 400;\">, assim como ocorre em <\/span><i><span style=\"font-weight: 400;\">Ouro de tolo<\/span><\/i><span style=\"font-weight: 400;\">, a satura\u00e7\u00e3o sil\u00e1bica n\u00e3o impede a can\u00e7\u00e3o de apresentar as balizas que determinam o enunciado mel\u00f3dico e o alinhamento nota-s\u00edlaba.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">&lt;074.01&gt;<\/span><\/p>\n<p><span style=\"font-weight: 400;\">S\u00edlaba \u00a0 \u00a0 <\/span><b>\u00a0<\/b><span style=\"font-weight: 400;\">\u00a0\u00a0OpintorpowgoG\u00c3&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;guanaBAra<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><b>\u00a0<\/b><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Eun\u00e3osoNHEI&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.DIselsob<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><b>\u00a0<\/b><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0| | | | | | | | | | | | | | | | | | | | | | | | | |\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Nota \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 N N N N N N&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;N N N\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Cel\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 C \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 C<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Enunc\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 E<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Esta maneira de suspender a direcionalidade harm\u00f4nica do enunciado mel\u00f3dico n\u00e3o \u00e9 privil\u00e9gio das can\u00e7\u00f5es figurativas cuja r\u00edtmica sil\u00e1bica \u00e9 independente do pulso, como o s\u00e3o <\/span><i><span style=\"font-weight: 400;\">Ouro de tolo <\/span><\/i><span style=\"font-weight: 400;\">e<\/span><i><span style=\"font-weight: 400;\"> O estrangeiro<\/span><\/i><span style=\"font-weight: 400;\">. Dorival Caymmi, em <\/span><i><span style=\"font-weight: 400;\">O mar<\/span><\/i><span style=\"font-weight: 400;\">, serve-se deste mesmo recurso suspensivo trabalhando sobre uma figura r\u00edtmica exaustivamente reiterada. Isso mostra que, at\u00e9 de maneira surpreendente, o enunciado\u00a0 mel\u00f3dico \u00e9 tamb\u00e9m el\u00e1stico, assim como a entoa\u00e7\u00e3o lingu\u00edstica. O que de fato conta parece ser a presen\u00e7a das balizas harm\u00f4nicas, os n\u00facleos das c\u00e9lulas, que estabelecem a predica\u00e7\u00e3o mel\u00f3dico-harm\u00f4nica e criam o efeito de sentido de que algo esta sendo enunciado musicalmente.<\/span><i><span style=\"font-weight: 400;\">\u00a0<\/span><\/i><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">&lt;075.09-12 e 13-18&gt;\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">S\u00edlaba\u00a0 \u00a0 PE dro\u00a0 \u00a0 \u00a0 vi\u00a0 vi \u00a0 a &#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;raj\u00a0 A(25 sil)<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0TO\u00a0 dos \u00a0 \u00a0 gos ta\u00a0 vam&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;raj\u00a0 A(42 sil)\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0| \u00a0 | \u00a0 * \u00a0 | \u00a0 | \u00a0 | \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 | \u00a0 |<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Nota \u00a0 \u00a0 \u00a0 N \u00a0 N \u00a0 \u00a0 \u00a0 N \u00a0 N \u00a0 N \u2026&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;N \u00a0 N\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Pulso\u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 P \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 P&#8230;&#8230;&#8230;..P<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Cel\u00a0 \u00a0 \u00a0 \u00a0 C \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 C<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Enunc\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 E<\/span><\/p>\n<p><span style=\"font-weight: 400;\">As caracter\u00edsticas compartilhadas por <\/span><i><span style=\"font-weight: 400;\">Ouro de Tolo <\/span><\/i><span style=\"font-weight: 400;\">e<\/span><i><span style=\"font-weight: 400;\"> O estrangeiro <\/span><\/i><span style=\"font-weight: 400;\">levam-nos a pensar que a forma mel\u00f3dica tem um status superior \u00e0 for\u00e7a entoativa, no sentido de que qualquer can\u00e7\u00e3o tem que preservar os elementos estruturais m\u00ednimos da melodia para ser caracterizada como tal, sob o risco de diluir-se no curso da fala pura, perdendo como isso sua efic\u00e1cia. <\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Concatenando enunciados: patterns mel\u00f3dicos &nbsp; Dado que o enunciado mel\u00f3dico (de uma, duas ou tr\u00eas c\u00e9lulas) tende a associar-se ao verso, a melodia da can\u00e7\u00e3o tende a ser um certo arranjo de enunciados mel\u00f3dicos. De fato, uma can\u00e7\u00e3o pode ser integralmente baseada num \u00fanico enunciado que se repete por meio de variantes. Cada variante pode [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-357","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/carmojr.com\/palavracantada\/wp-json\/wp\/v2\/pages\/357","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/carmojr.com\/palavracantada\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/carmojr.com\/palavracantada\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/carmojr.com\/palavracantada\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/carmojr.com\/palavracantada\/wp-json\/wp\/v2\/comments?post=357"}],"version-history":[{"count":2,"href":"https:\/\/carmojr.com\/palavracantada\/wp-json\/wp\/v2\/pages\/357\/revisions"}],"predecessor-version":[{"id":1468,"href":"https:\/\/carmojr.com\/palavracantada\/wp-json\/wp\/v2\/pages\/357\/revisions\/1468"}],"wp:attachment":[{"href":"https:\/\/carmojr.com\/palavracantada\/wp-json\/wp\/v2\/media?parent=357"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}