Resumo

A partir do estudo de Janna Saslaw e dialogando com outros comentaristas, o artigo propõe uma revisão da noção de ambiguidade no domínio da tonalidade harmônica. Para tanto, em perspectiva transepocal, são referenciados entendimentos de teóricos europeus (tais como Rameau, Rousseau, Kirnberger Vogler, Weber, Sechter, Richter, Hauptmann, Riemann, Schenker, Schoenberg) e de autores da jazz theory (Greene, Groovee Dobbins). Notando que a noção ressoa em outras áreas (estética, filosof ia, literatura, poesia, retórica etc.), conclui-se que, entre o apogeu e o declínio, a tese dos múltiplos significados fomentou fantasias criativas e teóricas que afetam nossas interpretações crítico-valorativas da música tonal.

Ambiguity: A keyword in the path of tonal theory

Based on the study by Janna Saslaw and on debates with other commentators, the aim of the current article is to revisit the concept of ambiguity in the harmonic tonality scope by adopting a trans-epochal perspective based on European theorists such as Rameau, Rousseau, Kirnberger, Vogler, Weber, Sechter, Richter, Hauptmann, Riemann, Schenker and Schoenberg, as well as on jazz theory authors such as Greene, Groove and Dobbins. By taking into consideration that the investigated concept echoes on other fields such as Aesthetics, Philosophy, Literature, Poetry, Rhetoric, among others, it is possible concluding that the theory of multiple meanings - from its apogee to its decline - has fostered theoretical and artistic fantasies that affected the critical-evaluative interpretation of the tonal repertoire.