Graziela Bortz é Bacharel em Música (instrumento: trompa) pela Universidade de São Paulo (1986), Mestre em Música pela Manhattan School of Music (1992 – bolsista MSM e Capes), Doutora em Música pelo Graduate Center - The City University of New York (2003 – bolsista Capes). É Chefe do Departamento de Música do Instituto de Artes da Unesp, onde atua em disciplinas teóricas na graduação e pós-graduação.
The article mentions the existing correlation among different textbooks of harmony, counterpoint and ear-training that have been influenced by schenkerian theory in the last decades. After briefly commenting upon strategies used to decode pitches in sight singing lessons, the work discusses questions about musical direction and movement involved in tonal sight singing. The author believes that those questions should be addressed on the very first contact with a new music part, and builds arguments based on structural layers involved in tonal composi- tions. It uses tools of schenkerian theory and its concepts of fundamental line and bass in order to illustrate ambiguities that can exist even in very simple solfeges, as it appears in the beginning of the song Der Entfernten, D. 350 of Franz Schubert, whose first period is presented on the sight singing book by Ottman (1995). It also presents as illustration of analysis of compound melody, the Minuet II from the Suite n. 2 for cello by J.S. Bach, BWV 1008. It concludes affirming that subtleties of interpretation should be considered in a variety of disciplines, from ear- training and theory to performance lessons. By the same token, theory studies should not be reserved to theory classes only, so that, in fact, musical experiences could become interdisciplinary.
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