From prosody to musical work: phonation mechanisms that interfere in the creative process

Abstract

Verbal expression has global parameters that cross the very organisation of the language in which it is performed. In this sense, prosody, the concept responsible for this universality, can bring verbal communication closer to musical expression, the latter understood as the transversal language of sounds, as both share parameters such as rhythm, melodic curve, intensity and duration, tone, timbre, among others. Thus, it is possible to find a parallelism in the processes of analysis and categorisation of prosodic and musical parameters, allowing a bidirectional interrelationship that promotes the development of new sound objects, translated into creative musical or phonetic expressions. From this process, the binomial musical instrument/phonatory instrument cannot be separated, considering the mechanical characteristics of one and physiognomic characteristics of the other, as fundamental elements in the communicative process between knowledges, observing the analysis of organological behaviours in the production of sound as a determining factor for the whole system. The case of “Eternity”, for solo piano, is representative of the Verbo-Music direction, where the organisation of the poetic-linguistic concept defines the formal aspect, while the prosodic element promotes the construction of the different objects that are musically defined and complete the dynamics of the creative process.