A performance musical e sua força desterritorializante

Artur de Melo Miranda Azzi; Flavio Barbeitas; João Morales

doi:10.5216/mh.v24.79155

Authors

Artur de Melo Miranda Azzi Universität Münster, Münster, Nordrhein Westfalen, Alemanha, arturmmazzi@gmail.com https://orcid.org/0000-0002-7741-4442
Flavio Barbeitas Universidade Federal de Minas Gerais, Belo Horizonte, Minas Gerais, Brasil, flateb@gmail.com https://orcid.org/0000-0002-6967-878X
João Morales Universidade Federal de Minas Gerais, Belo Horizonte, Minas Gerais, Brasil, jpqmorales@gmail.com https://orcid.org/0000-0003-1240-2202

DOI:

https://doi.org/10.5216/mh.v24.79155

Keywords:

performance studies, assemblage, contemporary guitar music, territoriality

Abstract

For a long time, musical performance was relegated to a peripheral condition in the field of musical ontology, being overshadowed by a concept of the work as a crystallised object, around which agents perform specific, well-defined functions. We propose an alliance with a conceptual network grounded in Deleuze, Guattari and other authors in order to look at the phenomenon of performance from another perspective: displacing the concept of the work from its stable ontological condition to incorporate movement, considering the deterritorializing potential of musical performance and the possibility of actualizing other forms of existence. Added to this discussion is a case study, with which we sought to put into practice the theoretical reflections discussed throughout the article, resulting in guitar music that never “is”, doesn’t represent, nor is it performed based on the functional segmentarity of its agents, but is always in process, emphasising difference and the multiple to the detriment of stable and finished identities.

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Author Biographies

Artur de Melo Miranda Azzi, Universität Münster, Münster, Nordrhein Westfalen, Alemanha, arturmmazzi@gmail.com

Artur Miranda Azzi holds a master's degree in music from the Hochschule für Musik und Darstellende Kunst Frankfurt (2021), a Künstlerisches Aufbaustudium from the Akademie für Tonkunst Darmstadt (2019) and a bachelor's degree from the Federal University of Minas Gerais. He works as an artist and teacher in the areas of performance, music theory and composition. He was a lecturer at the Hochschule für Musik und Darstellende Kunst Frankfurt and a voluntary lecturer at UFMG. He is currently a doctoral candidate at WWU Münster and the Federal University of Minas Gerais.

Flavio Barbeitas, Universidade Federal de Minas Gerais, Belo Horizonte, Minas Gerais, Brasil, flateb@gmail.com

Bachelor and Master in Music (guitar) from Universidade Federal do Rio de Janeiro (1992 /1995) and PhD in Literary Studies from Universidade Federal de Minas Gerais / Università degli Studi di Bologna (2007) . Since 1996 works as professor at Escola de Música da UFMG (Universidade Federal de Minas Gerais). Besides developing artistic activities, is dedicated to music theory with research in two main areas: 1) music in general relationship with Brazilian culture and the processes of construction and deconstruction of national identity (developments of Master's thesis: "circularity and cultural nationalism in Twelve waltzes for guitar by Francisco Mignone ") 2) music in relation to other arts, particularly Literature, starting from issues such as Music and Representation, Music and Language (unfolding Doctoral thesis:" Music inhabits the language: music theory and concept of musicality in poetry "

João Morales, Universidade Federal de Minas Gerais, Belo Horizonte, Minas Gerais, Brasil, jpqmorales@gmail.com

João Morales holds a Bachelor's degree in Music with a major in Guitar from the Federal University of Minas Gerais (2019) and a Master's degree in Music (Music Performance) from the same institution (2023). He teaches guitar at the José Acácio de Assis Costa Municipal Music School in Nova Lima. He is interested in studies of Latin American repertoires and in artistic research that encompasses experimental practices, especially with crossings into the field of philosophy, dedicating himself to work based on a critical stance (as an emphasis on difference) about the role of the performer and the conditions, possibilities and limits that arise in these contexts. As well as performing in solo recitals, she works constantly in chamber groups.