A eficácia das introduções musicais: uma análise baseada na teoria de Belkin.

Abstract

Since musical composition is a discipline largely dominated by subjectivity, the task of teaching it objectively has been a great challenge. Throughout the history of music, various composers have dedicated themselves to the task of preparing treatises or textbooks that approach the teaching of composition using techniques that have proved satisfactory in most cases – such as Schoenberg (2015) in Fundamentals of musical composition, and Guerra-Peixe in Melos e Harmonia Acústica: Princípios da Composição Musical, to name a few. This work therefore sets out to analyze the assumptions presented by Belkin in Musical Composition: Craft and Art (2018), with the aim of assessing the extent to which his propositions are useful for the composer. To this end, a composition by the researcher himself will be used as the object of analysis, stipulating a cut-off point in order to analyze only the introduction of each of the work's three movements.