Marcus S. Wolff
CV Lattes: http://lattes.cnpq.br/3507666665559087
Possui graduação em História pela Pontifícia Universidade Católica do Rio de Janeiro (1992), graduação em Música pela Universidade do Rio de Janeiro (1989), mestrado em História Social da Cultura pela Pontifícia Universidade Católica do Rio de Janeiro (1993) e doutorado em Comunicação e Semiótica pela Pontifícia Universidade Católica de São Paulo (2004), tendo realizado pesquisa de campo na Índia sob orientação da profa. Dra. B. Sengupta na Rabindra Bharati University, Calcutá (Kolkata), entre 2002/2003 e defendido sua tese em março de 2004 na PUC/SP, onde foi orientado pelo semioticista prof. Dr José Luiz Martinez. Foi pesquisador do Laboratório de Etnomusicologia da Escola de Música da UFRJ (2006-2007). Tem experiência na área de Artes, com ênfase em Música e em Comunicação, atuando principalmente nos seguintes temas: história da arte e da cultura, (etno)musicologia e questões identitárias, ideologias nacionalistas, sistemas semióticos sonoros, comunicação. Lecionou nas faculdades de Música e Comunicação da Universidade Candido Mendes, campus Friburgo, onde coordenou o Núcleo de Estudos Interdisciplinares: Imagem, Memória e Identidade (NEIMI) e desenvolveu pesquisas sobre a relação entre as manifestações artísticas/musicais e as identidades dos imigrantes da região serrana do estado do RJ. De out/2014 a nov. 2019 desenvolveu um projeto de pesquisa na Universidade do Rio de Janeiro (UNI-RIO), sob a supervisão da profa. Dra. Carole Gurbenikoff, sobre a estética do impreciso e do paradoxal elaborada pelo compositor e maestro Hans J. Koellreutter e sobre a relação desta com o pensamento quântico e as tradições orientais. (Texto informado pelo autor)
http://lattes.cnpq.br/3507666665559087
Possui graduação em História pela Pontifícia Universidade Católica do Rio de Janeiro (1992), graduação em Música pela Universidade do Rio de Janeiro (1989), mestrado em História Social da Cultura pela Pontifícia Universidade Católica do Rio de Janeiro (1993) e doutorado em Comunicação e Semiótica pela Pontifícia Universidade Católica de São Paulo (2004), tendo realizado pesquisa de campo na Índia sob orientação da profa. Dra. B. Sengupta na Rabindra Bharati University, Calcutá (Kolkata), entre 2002/2003 e defendido sua tese em março de 2004 na PUC/SP, onde foi orientado pelo semioticista prof. Dr José Luiz Martinez. Foi pesquisador do Laboratório de Etnomusicologia da Escola de Música da UFRJ (2006-2007). Tem experiência na área de Artes, com ênfase em Música e em Comunicação, atuando principalmente nos seguintes temas: história da arte e da cultura, (etno)musicologia e questões identitárias, ideologias nacionalistas, sistemas semióticos sonoros, comunicação. Lecionou nas faculdades de Música e Comunicação da Universidade Candido Mendes, campus Friburgo, onde coordenou o Núcleo de Estudos Interdisciplinares: Imagem, Memória e Identidade (NEIMI) e desenvolveu pesquisas sobre a relação entre as manifestações artísticas/musicais e as identidades dos imigrantes da região serrana do estado do RJ. De out/2014 a nov. 2019 desenvolveu um projeto de pesquisa na Universidade do Rio de Janeiro (UNI-RIO), sob a supervisão da profa. Dra. Carole Gurbenikoff, sobre a estética do impreciso e do paradoxal elaborada pelo compositor e maestro Hans J. Koellreutter e sobre a relação desta com o pensamento quântico e as tradições orientais. (Texto informado pelo autor)
http://lattes.cnpq.br/3507666665559087
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O presente trabalho procura investigar a questão da relatividade dos valores estéticos, tal como colocada por Hans J. Koellreutter (1999), considerando essa discussão como desdobramento das leituras realizadas pelo autor da obra de Mário de Andrade e do contato com as tradições musicais não-europeias (indianas e japonesas) na década de 1960 e 1970. Pretende-se demonstrar como o maestro e compositor, partindo de textos de Mário de Andrade, iniciou uma discussão, na década de 1940, entre os membros do grupo Música Viva, sobre o modo como as condições sócio-econômicas afetam a sensibilidade estética e os valores dos grupos sociais, relativizando concepções conservatoriais pautadas pela defesa de valores absolutos, tais como beleza e perfeição.
Levando adiante essa discussão em momento posterior, demonstraremos como Koellreutter agregou a ela novos elementos, oriundos de suas leituras dos cientistas ligados à física quântica, que questionaram a objetividade científica, tal como compreendida anteriormente dentro do paradigma racionalista. Por um lado, transpôs para o campo da arte e da estética musical a reflexão dos físicos a respeito da impossibilidade de se estabelecer uma observação objetiva da realidade dos fenômenos observados, ao afirmar o relativismo dos valores e sua dependência com relação ao homem e à sociedade. Por outro lado, o contato com as tradições musicais da Índia e do Japão, em que a comunicação de significados diversos ao público se manteve, também levou à busca da superação do individualismo do Ocidente moderno. Em seu lugar, propôs uma arte “onijetiva”, na qual o compositor e o intérprete comunicam a “nova imagem do mundo” que substitui tanto o ideal clássico (europeu) de objetividade e seus valores absolutos quanto o extremo subjetivismo das vanguardas do século XX.
Utilizando-se de ferramentas desenvolvidas pela musicologia, pela semiótica da música e pelas ciências sociais, a pesquisa em andamento sobre o pensamento estético de Koellreutter procura contextualizar suas concepções e a agenda estética e política que o levou a buscar um diálogo com cientistas ligados ao pensamento quântico e com os mestres das tradições musicais da Índia e do Japão, possibilitando sua compreensão da arte como forma de comunicação que vincula o criador aos intérpretes e ouvintes, de modo a compartilharem ideias e sentimentos despertos pela obra musical que procura representar uma realidade situada além da razão humana.
Palavras-chave:
Koellreutter; Mário de Andrade; estética musical; funcionalidade; comunicação.
ABSTRACT
The present paper seeks to investigate the question of the relativity of aesthetic values, as affirmed by Hans J. Koellreutter (1999), considering this discussion as an unfolding of the readings made by him of the work of Mário de Andrade (1977) and of the contact with the non-western musical traditions (Indian and Japanese) in the 1960s and 1970s. It is intended to demonstrate how the composer and maestro, starting from texts by Mário de Andrade, began a discussion in the 1940s among members of the “Grupo Música Viva” about the way in which the socio-economic conditions affect the aesthetic sensibility and the values of the social groups, relativizing conservatorial conceptions guided by the defense of absolute values, such as beauty and perfection.
Carrying on this discussion later, Koellreutter added to it new elements from his readings of scientists linked to quantum physics, who questioned scientific objectivity as previously understood within the rationalist paradigm. On the one hand, he transposed to the field of art and musical aesthetics the reflection of physicists about the impossibility of establishing an objective observation of the reality of observed phenomena, affirming the relativism of values and their dependence on man and society. On the other hand, the contact with the musical traditions of India and Japan, in which the communication of diverse meanings to the public has been maintained, also led to the search of overcoming the individualism of the modern West. Instead, he proposed an "onijectiv" art in which the composer and the interpreter communicate the "new image of the world" that replaces both the classical (European) ideal of objectivity and its absolute values and the extreme subjectivism of the Western avant-garde of the twentieth century.
Using tools developed by musicology, music semiotics and the social sciences, the ongoing research on Koellreutter’s aesthetic thinking seeks to contextualize his musical conceptions and the aesthetic and political agenda that led him to begin a dialogue with scientists linked to the Quantum movement and with the masters of the musical traditions of India and Japan, enabling his understanding of art as a form of communication that links the creator to the interpreters and listeners, in order to share ideas and feelings awakened by a musical work that seeks to represent a reality located beyond human reason.
KEYWORDS:
Koellreutter; Mário de Andrade; musical aesthetics; communication.
Abstract: This paper is an unfolding of a research project in progress about
the aesthetic thought of Koellreutter. It is intended to demonstrate the similarities between the composer's ideas and elements contained in the philosophy of Hegel, especially the universalist conception of humanity and the idea of progress, in which History appears as a rational and predetermined process. It can be noted that the “Orient” is seen by both the philosopher and the composer as the dawn of Humanity, representing an initial level of development of the Spirit (Geist) that reveals itself progressively through the different stages of development up to reach a
final step, which would not be carried out by the “German world”, as in Hegel’s thought, but by a universal technological society. Analyzing the
correspondence between Koellreutter and Tanaka and other sources produced in India and Japan during the sixties and seventies, we intend to discuss Koellreutter’s project of constructing an universal global culture,
which would be a synthesis resulting from theopposition between an "Orient", valued for its complex musical traditions seen as expressions of an intuitive consciousness, and an "Occident", characterized by its fragmenting rationalism, from which would have derived a naturalistic aesthetic and the tonal system. Some concepts developed by Georgina Born (2000) e J.
Corbett (2000) were used to make such discussion, as they allow us to put the composer’s works aside to other utopian achievements based on a fantasy of hybrid transculturation that, in a certain way, give continuity to
a conceptual Orientalism started by John Cage.
Abstract:
This article departs from the analysis of the theoretical model proposed by the Brazilian semiotician José Luiz Martinez (1960-2007), based on the general theory of signs developed by Charles s. Peirce (1839-1914) and his conception of the action of signs as a triadic process, whose logic would reflect the universal categories of firstness, secondness and thirdness, to try to answer the questions regarding the musical meaning and to demonstrate how this model by dividing the research field in three distinct but interrelated areas (intrinsic musical semiosis, musical reference and musical interpretation), makes it possible to fill a gap between the so-called music sciences (musicologies and analytical theories) and disciplines based on social sciences (such as ethnomusicology , sociology and anthropology of music) which have mainly dealt with musical discourses and behaviors. From another perspective, the methodological proposal elaborated by the Colombian Oscar Hernandez Salgar in 2011 will be investigated considering the three approaches that the author proposes to face the same problem-the semiotic-hermeneutic approach, cognitive and socio-political in its effort to make the latest interdisciplinary developments involving music semiotics helpful to the understanding of how sound languages contribute to the creation.
thought and action, as the committed artist who participated in the Swadeshi movement or the modernist painter who he became in old age. Considering the Brazilian context, we aim to understand the fascination that the poet's figure had on Cecilia and on the group of intellectuals of Rio de Janeiro not identified with the cosmopolitanism of the Old Republic nor with the nationalism of modernist groups of São Paulo. We arrive at the conclusion that Cecilia started a dialogue with Indian culture, contributing to the establishment of a post-colonial brotherhood between India and Latin America that the author of Gitanjali had desired, but is still awaiting its moment of consolidation.
KEYWORDS: Tagore. Cecília Meireles. Indian Culture. Brazilian Culture. Post-colonialism.
Através de um exame apurado da obra de Mário de Andrade, procura-se também revelar qual a relação entre a estética eclética da primeira fase do seu pensamento com a estética normativa surgida no final dos anos 20, que serviu de base para a formação de uma escola nacionalista de composição no Brasil.
belongs to a precise historical context.
In order to achieve this, Peircean semiotic tools are applied to the music field, as done by W. Dougherty (1993), José L. Martinez (1997) and R. Hatten (1994). Therefore the song is understood here in the interplay between verbal and musical signs. The analysis proceeds by the investigation of the musical reference (Martinez, 2001), the
field where the relation between signs and their objects is projected.
So, we try to reveal the relation between signs and their objects and how its interaction
articulate several levels of meanings: they can not only be juxtaposed but also confronted and transmuted; in a secondary level, there is a play between the musical
and poetic interpretants; and the third level is that one where the song itself can be compared to other songs and, ultimately, put against other cultural processes (Dougherty,
1993). So, going beyond the level
of intrinsic analysis, we try to reveal the relation
between the song and the affirmation of a cultural Brazilian identity during the 1930 decade.
O presente trabalho procura investigar a questão da relatividade dos valores estéticos, tal como colocada por Hans J. Koellreutter (1999), considerando essa discussão como desdobramento das leituras realizadas pelo autor da obra de Mário de Andrade e do contato com as tradições musicais não-europeias (indianas e japonesas) na década de 1960 e 1970. Pretende-se demonstrar como o maestro e compositor, partindo de textos de Mário de Andrade, iniciou uma discussão, na década de 1940, entre os membros do grupo Música Viva, sobre o modo como as condições sócio-econômicas afetam a sensibilidade estética e os valores dos grupos sociais, relativizando concepções conservatoriais pautadas pela defesa de valores absolutos, tais como beleza e perfeição.
Levando adiante essa discussão em momento posterior, demonstraremos como Koellreutter agregou a ela novos elementos, oriundos de suas leituras dos cientistas ligados à física quântica, que questionaram a objetividade científica, tal como compreendida anteriormente dentro do paradigma racionalista. Por um lado, transpôs para o campo da arte e da estética musical a reflexão dos físicos a respeito da impossibilidade de se estabelecer uma observação objetiva da realidade dos fenômenos observados, ao afirmar o relativismo dos valores e sua dependência com relação ao homem e à sociedade. Por outro lado, o contato com as tradições musicais da Índia e do Japão, em que a comunicação de significados diversos ao público se manteve, também levou à busca da superação do individualismo do Ocidente moderno. Em seu lugar, propôs uma arte “onijetiva”, na qual o compositor e o intérprete comunicam a “nova imagem do mundo” que substitui tanto o ideal clássico (europeu) de objetividade e seus valores absolutos quanto o extremo subjetivismo das vanguardas do século XX.
Utilizando-se de ferramentas desenvolvidas pela musicologia, pela semiótica da música e pelas ciências sociais, a pesquisa em andamento sobre o pensamento estético de Koellreutter procura contextualizar suas concepções e a agenda estética e política que o levou a buscar um diálogo com cientistas ligados ao pensamento quântico e com os mestres das tradições musicais da Índia e do Japão, possibilitando sua compreensão da arte como forma de comunicação que vincula o criador aos intérpretes e ouvintes, de modo a compartilharem ideias e sentimentos despertos pela obra musical que procura representar uma realidade situada além da razão humana.
Palavras-chave:
Koellreutter; Mário de Andrade; estética musical; funcionalidade; comunicação.
ABSTRACT
The present paper seeks to investigate the question of the relativity of aesthetic values, as affirmed by Hans J. Koellreutter (1999), considering this discussion as an unfolding of the readings made by him of the work of Mário de Andrade (1977) and of the contact with the non-western musical traditions (Indian and Japanese) in the 1960s and 1970s. It is intended to demonstrate how the composer and maestro, starting from texts by Mário de Andrade, began a discussion in the 1940s among members of the “Grupo Música Viva” about the way in which the socio-economic conditions affect the aesthetic sensibility and the values of the social groups, relativizing conservatorial conceptions guided by the defense of absolute values, such as beauty and perfection.
Carrying on this discussion later, Koellreutter added to it new elements from his readings of scientists linked to quantum physics, who questioned scientific objectivity as previously understood within the rationalist paradigm. On the one hand, he transposed to the field of art and musical aesthetics the reflection of physicists about the impossibility of establishing an objective observation of the reality of observed phenomena, affirming the relativism of values and their dependence on man and society. On the other hand, the contact with the musical traditions of India and Japan, in which the communication of diverse meanings to the public has been maintained, also led to the search of overcoming the individualism of the modern West. Instead, he proposed an "onijectiv" art in which the composer and the interpreter communicate the "new image of the world" that replaces both the classical (European) ideal of objectivity and its absolute values and the extreme subjectivism of the Western avant-garde of the twentieth century.
Using tools developed by musicology, music semiotics and the social sciences, the ongoing research on Koellreutter’s aesthetic thinking seeks to contextualize his musical conceptions and the aesthetic and political agenda that led him to begin a dialogue with scientists linked to the Quantum movement and with the masters of the musical traditions of India and Japan, enabling his understanding of art as a form of communication that links the creator to the interpreters and listeners, in order to share ideas and feelings awakened by a musical work that seeks to represent a reality located beyond human reason.
KEYWORDS:
Koellreutter; Mário de Andrade; musical aesthetics; communication.
Abstract: This paper is an unfolding of a research project in progress about
the aesthetic thought of Koellreutter. It is intended to demonstrate the similarities between the composer's ideas and elements contained in the philosophy of Hegel, especially the universalist conception of humanity and the idea of progress, in which History appears as a rational and predetermined process. It can be noted that the “Orient” is seen by both the philosopher and the composer as the dawn of Humanity, representing an initial level of development of the Spirit (Geist) that reveals itself progressively through the different stages of development up to reach a
final step, which would not be carried out by the “German world”, as in Hegel’s thought, but by a universal technological society. Analyzing the
correspondence between Koellreutter and Tanaka and other sources produced in India and Japan during the sixties and seventies, we intend to discuss Koellreutter’s project of constructing an universal global culture,
which would be a synthesis resulting from theopposition between an "Orient", valued for its complex musical traditions seen as expressions of an intuitive consciousness, and an "Occident", characterized by its fragmenting rationalism, from which would have derived a naturalistic aesthetic and the tonal system. Some concepts developed by Georgina Born (2000) e J.
Corbett (2000) were used to make such discussion, as they allow us to put the composer’s works aside to other utopian achievements based on a fantasy of hybrid transculturation that, in a certain way, give continuity to
a conceptual Orientalism started by John Cage.
Abstract:
This article departs from the analysis of the theoretical model proposed by the Brazilian semiotician José Luiz Martinez (1960-2007), based on the general theory of signs developed by Charles s. Peirce (1839-1914) and his conception of the action of signs as a triadic process, whose logic would reflect the universal categories of firstness, secondness and thirdness, to try to answer the questions regarding the musical meaning and to demonstrate how this model by dividing the research field in three distinct but interrelated areas (intrinsic musical semiosis, musical reference and musical interpretation), makes it possible to fill a gap between the so-called music sciences (musicologies and analytical theories) and disciplines based on social sciences (such as ethnomusicology , sociology and anthropology of music) which have mainly dealt with musical discourses and behaviors. From another perspective, the methodological proposal elaborated by the Colombian Oscar Hernandez Salgar in 2011 will be investigated considering the three approaches that the author proposes to face the same problem-the semiotic-hermeneutic approach, cognitive and socio-political in its effort to make the latest interdisciplinary developments involving music semiotics helpful to the understanding of how sound languages contribute to the creation.
thought and action, as the committed artist who participated in the Swadeshi movement or the modernist painter who he became in old age. Considering the Brazilian context, we aim to understand the fascination that the poet's figure had on Cecilia and on the group of intellectuals of Rio de Janeiro not identified with the cosmopolitanism of the Old Republic nor with the nationalism of modernist groups of São Paulo. We arrive at the conclusion that Cecilia started a dialogue with Indian culture, contributing to the establishment of a post-colonial brotherhood between India and Latin America that the author of Gitanjali had desired, but is still awaiting its moment of consolidation.
KEYWORDS: Tagore. Cecília Meireles. Indian Culture. Brazilian Culture. Post-colonialism.
Através de um exame apurado da obra de Mário de Andrade, procura-se também revelar qual a relação entre a estética eclética da primeira fase do seu pensamento com a estética normativa surgida no final dos anos 20, que serviu de base para a formação de uma escola nacionalista de composição no Brasil.
belongs to a precise historical context.
In order to achieve this, Peircean semiotic tools are applied to the music field, as done by W. Dougherty (1993), José L. Martinez (1997) and R. Hatten (1994). Therefore the song is understood here in the interplay between verbal and musical signs. The analysis proceeds by the investigation of the musical reference (Martinez, 2001), the
field where the relation between signs and their objects is projected.
So, we try to reveal the relation between signs and their objects and how its interaction
articulate several levels of meanings: they can not only be juxtaposed but also confronted and transmuted; in a secondary level, there is a play between the musical
and poetic interpretants; and the third level is that one where the song itself can be compared to other songs and, ultimately, put against other cultural processes (Dougherty,
1993). So, going beyond the level
of intrinsic analysis, we try to reveal the relation
between the song and the affirmation of a cultural Brazilian identity during the 1930 decade.