DIVERSITY IN A DECOLONIZING WRITING OF MUSICAL SHEET FOR THE SCENE BASED ON THE BRAZILIAN CONCEPT MACRO-HARMONY

Abstract

Bringing together all the diversity of the narratives from the elements that constitute a performance, within the same degree of relevance, in a graphic plan that is unifying enough to record, analyze, and re-enact them is indeed a great challenge. In this pioneering journey, some fundamental lessons have been learned. The discovery of the possibility for transducing functional harmony system was providential, because it brought to the staging approach a whole system of efficient, objective and concrete recording and analysis, to which it was possible to add elements not contemplated in the traditional musical score, the non-acoustic elements. The idea of the elasticity of the performance and the adoption of time as a horizontal axis were essential for the score to be able to simultaneously express the evolution of the narratives from elements of different nature, such as the narrative of music, light, costume, body expression, spoken and interpreted text, among others. The text introduces new concepts such as marco cênico, cenário sonoro, foco sonoro, pleonasmo sonoro, and macro-harmonia. Finally, the score proposed here should be seen as a tool that has been tested in dozens of theatrical productions over decades, undergoing constant analysis and improvement, always motivated by issues from the stage work. It is presented as a proposal, a possibility, the beginning of a debate, not the end of the matter.