Trans: ways of seeing, listening, analyzing, and creating in Popular Music
The present work aims to present possibilities for the use of musical notation in popular music, as well as reflection on these processes in cases of chord transliteration, improvisation analysis, critical editing processes based on transcription, and musical recreation or transcreation. Drawing on...
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| Main Author: | |
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| Format: | Online |
| Language: | Portuguese |
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Universidade Estadual de Campinas
2026
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| Subjects: | |
| Online Access: | https://econtents.sbu.unicamp.br/inpec/index.php/muspop/article/view/19689 |
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| Summary: | The present work aims to present possibilities for the use of musical notation in popular music, as well as reflection on these processes in cases of chord transliteration, improvisation analysis, critical editing processes based on transcription, and musical recreation or transcreation. Drawing on the theoretical framework of transdisciplinarity (NICOLESCU, 1999), we explore authors who follow the presented possibilities: A. Schoenberg, C. Almada, and F. Menezes for critical discussion of chord transliteration cases; N. Cook and P. Ewell for improvisation analysis in transcription cases; and C. Figueiredo and P. Menezes for critical editing. The transcreations are based on the idea of the Brazilian poet Haroldo de Campos but based on F. Pereira (2011). Examples from Gilberto Gil and Djavan were used for chord transliteration; Hermeto Pascoal and Radamés Gnattali’s arrangements for transcription cases; and A. Schoenberg, Fructuoso Vianna, and J.S. Bach for transcreation. The final reflection extends beyond the presented cases and includes authors who support the arguments. In this sense, the cases aim to illuminate topics rather than merely serve as examples for a deeper understanding of the discussed works. Based on the conducted research, the results point to the need for future studies in the field of musical reception cognition. |
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| ISSN: | 2316-7858 |
