Trans/Form/Ação 39 (s1):93-110 (2016)

Abstract
RESUMO: A música ocupa um lugar de destaque como um dos principais meios de imitação. A utilização da música como ferramenta para suscitar e representar afetos, preconizada desde os antigos, chega integralmente ao século XVIII, podendo ser observada claramente nas obras dos compositores alemães ligados à doutrina composicional da Musica Poetica3 e, sobretudo, na obra de Johann Sebastian Bach. Porém, diversas são as espécies de imitação musical, de forma que o intuito deste trabalho foi categorizar e definir a função das espécies imitativas, com base na concepção aristotélica de imitação e nas categorias de imitação propostas por Johann Mattheson, um dos principais teóricos da Musica Poetica, tentando demonstrar que, desde a concepção musical da antiguidade, música e poética são inseparáveis. ABSTRACT: Music occupies a prominent place as a means of imitation. The use of music as a tool to inspire and represent affections, which has occurred since ancient times, was integral to eighteenth century music. This can be clearly seen in the works of German composers linked to the compositional doctrine of musica poetica, and especially in the work of Johann Sebastian Bach. However, there are several kinds of musical imitation. Therefore, the purpose of this study is to categorize and define the function of imitation, based on the Aristotelian concept of imitation and on the categories of imitation proposed by Johann Mattheson, one of the main theoreticians of musica poetica. We try to show that ever since the musical conceptions of antiquity, music and poetics have been inseparable.
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DOI 10.1590/s0101-31732016000500007
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