Imagética musical: aspectos constitutivos e mecanismos de funcionamento na criação de solos instrumentais.

Abstract

This thesis aimed to study the constitutive aspects of musical imagery and its mechanisms of operation in the creation of instrumental solos. Understanding musical imagery as a set of mental representations activated when a person is imagining musically and based on the idea that human imagination is structured in a systemic and semantic way, the thesis defended that schemas – organized masses of experiences in which a cognitive setting takes shape in the minds of people, allowing for the processing of information – would provide the substrate necessary for the musician's subversion of sound-musical patterns, internalized in a cultural context, for creative amalgamation. The methodological research tripod encompassed a theoretical-conceptual review, centering on the discussion of the discourses that construct and deconstruct the concept of musical imagery, in the field of Cognitive Sciences, and two empirical studies: an initial exploratory study, based on self-analysis, and a multiple case study with other four musicians. Based on the historical-cultural perspective and on the evidential paradigm, the game between apolinian forces of theoretical learning and dionysian forces of "taking music by ear" acting in the training of the musicians was analyzed. Understanding musical imagery as an effect of musical practice and learning, we identified three main schemas that structure the participant musicians' imagery: the schema of the sound characteristics of a musical style (stylistic schema), the schema of the actions and perceptions involved in practice (procedimental schema) and the schema of symbolic efficacy. The multimodal aspects that constitute the imagery of the musicians was investigated from a semantic point of view. Thus, aiming at the conservation of integral units of analysis that encompass the visual, sound, motor, etc. characteristics, in conjunction with the signification processes, two main multimodal models were identified: the scale-chord model and the sound-feeling model. Data analisys led to the conclusion that the scale-chord model is usually used by the research subjects who are more influenced by the apolinian forces of theoretical learning and that the sound-feeling model is usually used by subjects more influenced by the dionysian forces of "taking music by ear".