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De quem é essa música? - uma reflexão acerca da noção de autoria à luz do repertório canônico do jazz norte-americano
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As discussões no campo da Estética a respeito do conceito de autor ao longo do século
XX e a sua permanência enquanto questão pertinente também no século XXI são fundamentais
para uma melhor compreensão dos agentes do processo de produção artística, sob o qual
residem, ainda hoje, algumas crenças quase dogmáticas na ideia de um fazer artístico baseado
na imagem do génio criador, dotado, por sua vez, de um dom original.
A complexa relação entre o papel desempenhado pelo artista-autor e os sentidos
atribuídos à sua criação quando exposta ao mundo remete às questões mais fundamentais a
respeito da necessidade de se aceitar os diferentes modos existentes de se promover a abertura
de uma obra. No caso da música, isso passa por compreender e aceitar a função criadora que
também pode ser desempenhada por aqueles que conhecemos como intérpretes quando da
reexecução de um tema composto por outro indivíduo, seja em performances ao vivo, seja em
regravações em álbuns, as quais tendem a ressignificar as canções e a ampliar o seu significado.
A escolha pelo jazz justifica-se por ser um género musical que, muitas vezes, apresentase
com um constante convite à abertura da obra por meio da dinâmica da improvisação dos
músicos. Assim, com base na análise do que ocorre nas reinterpretações do repertório canónico
do jazz e tendo como referência o caso específico da canção “My Funny Valentine”, de autoria
atribuída a Richard Rodgers e Lorenz Hart, esta tese pretende demonstrar como a ideia de
pensar em uma autoria que se manifesta a cada nova versão deste famoso tema mostra-se
pertinente.
The various discussions in the field of aesthetics about the concept of author throughout the twentieth century and their permanence as a pertinent question also in the twenty-first century are fundamental for a better understanding of the artistic production process’ agents, which are associated, until nowadays, with the almost theological belief that the idea of an artistic doing is based on the image of a creative genius endowed with an original gift. The complex relation between the role played by the artist-author and the senses attributed to his creation when it’s exposed to the world refer to the most fundamental questions regarding the need to accept the different ways of promoting the opening of a work. When we talk about music, this involves understanding and accepting the creative function that can also be performed by those who we know as interpreters as they execute a song composed by another individual either in live performances or in album re-recordings, which tend to re-significate the songs and broaden their meaning. The choice for jazz is justified because it is a musical genre that often presents itself with a constant invitation to the opening of the work through the dynamics of the musicians’ improvisation. Therefore, based on the analysis of what happens in the reinterpretations of the canonical repertoire of jazz and having as reference the specific case of the song "My Funny Valentine", attributed to Richard Rodgers and Lorenz Hart, this thesis aims to demonstrate how the idea of thinking of an authorship that manifests itself with each new version of this famous song is pertinent.
The various discussions in the field of aesthetics about the concept of author throughout the twentieth century and their permanence as a pertinent question also in the twenty-first century are fundamental for a better understanding of the artistic production process’ agents, which are associated, until nowadays, with the almost theological belief that the idea of an artistic doing is based on the image of a creative genius endowed with an original gift. The complex relation between the role played by the artist-author and the senses attributed to his creation when it’s exposed to the world refer to the most fundamental questions regarding the need to accept the different ways of promoting the opening of a work. When we talk about music, this involves understanding and accepting the creative function that can also be performed by those who we know as interpreters as they execute a song composed by another individual either in live performances or in album re-recordings, which tend to re-significate the songs and broaden their meaning. The choice for jazz is justified because it is a musical genre that often presents itself with a constant invitation to the opening of the work through the dynamics of the musicians’ improvisation. Therefore, based on the analysis of what happens in the reinterpretations of the canonical repertoire of jazz and having as reference the specific case of the song "My Funny Valentine", attributed to Richard Rodgers and Lorenz Hart, this thesis aims to demonstrate how the idea of thinking of an authorship that manifests itself with each new version of this famous song is pertinent.
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Jam Session Standard Jazz Broadway “My Funny Valentine” Jazz Conceito de Autor Autoria Improvisação Performance Intérprete Obra Aberta Author concept Authorship Improvisation Performance Interpreter Open Work