Download O ambiente da improvisao musical eo tempo

REVISTA PER MUSI - Vol. 5 and 6
1. The environment of musical improvisation and time
Rogério Luiz Moraes Costa (USP)
e - ma i l : [email protected]
Abstract: In this article, we strive to reflect about the questions
connected with time in the context of free musical improvisation. What
kinds of interactions happen between the performers, or between
them and their instruments, or, else, between materials and
procedures in the field of an intensive musical practice in real time?
How are the relations built up with the past, present and future within
this context? Which is the role of memory in this process? Which form
does time take, generally speaking, in this kind of practice: a nonmeasured or a measured type of organization? Or would we rather be
in a context of a "multiple" time, non-linearized and full of
simultaneity as proposed by Olivier Messiaen in his works and
writings? These and other issues presented in this work, point to a
kind of improvisation that takes place "out of time" and in which the
idea of organization is substituted by the idea of resonance.
Keywords: time, memory, hearing, free improvisation, idiomatic
improvisation, environment.
2. Motor learning and music performance:
reflections on concepts and applicability
Guilherme Menezes Lage (GEDAM / UFMG)
e-mail: [email protected]
Fausto Borém (UFMG)
e-mail: [email protected]
site: www.musica.ufmg.br/~fborem
Rodolfo Novellino Benda (GEDAM / UFMG)
e-mail: [email protected]
Luiz Carlos Moraes (UFMG)
e-mail: [email protected]
Abstract: Introduction to concepts and issues from the field of Motor Learning and
its possible applications to Music Performance and its teaching. The paper focus
on the comprehension of factors and processes involved in movement production
and acquisition, especially those required in the instrumentalist’s daily practice.
This article results from a collaboration between the project "Pearls" and "Hot
Potatoes" of the Double Bass (sponsored by Brazilian agency CNPq) and GEDAM
(Motor Development and Learning Research Group) from The Physical Education
School (UFMG).
Keywords: motor learning, music performance, motor skill, deliberate practice.
3. On performance, analysis, and Schubert
Janet Schmalfeldt (Tufts University)
e-mail: [email protected]
Abstract: An introductory critique of my own 1985 essay about the performanceanalysis relationship sets the stage for a portrayal of the Performer as the
individual most especially in charge of shaping our perceptions of form within the
first movement of Schubert's Piano Sonata in A Minor, Op. 42 (D845). Ideas about
form as process in Beethoven's music, about Schubert's personal and professional
status in 1825, and about the interplay between formal and motivic conventions
and transformations will be brought to bear upon the question of how performers
and analysts alike might approach an understanding of Schubert's formidable work.
Keywords: musical form as process, formal functions, philosophical and musical
notions of becoming, omnibus progression, “false” recapitulation, symmetrical
division of the octave.
4. A Atra Praia de Saturno – the structural role of the timbre
Felipe de Oliveira Amorim (UFOP)
e-mail: [email protected]
Rogério Vasconcelos Barbosa (UFMG)
e-mail: [email protected]
Abstract: This article describes the partnership between the two authors, which
resulted in the composition A Atra Praia de Saturno, by Rogério Vasconcelos, for
flute and electroacoustic resources. The first part of the article presents the
compositional procedures which structure the form of the piece. In the second,
details are offered about the performer’s collaboration in regard to the application
of non-traditional resources of the flute, which made their application possible to
the composition in a functional way.
Keywords: musical analysis, timbre, flute, non-traditional techniques.
5. Francisco Mignone: experimentation in the three sonatas for
violin and piano (1964-66)
Esdras Rodrigues (UNICAMP)
e-mail: [email protected]
Abstract: After the death of Mario de Andrade in 1945, Francisco Mignone
underwent a period of experimentation, which produced a very personal serial and
dodecaphonic language. Between 1964 and 1966 he revisited the sonata for violin
and piano, with three works. Apart from their importance within Mignone’s chamber
music output, the sonatas are also very revealing of the techniques and aesthetic
embraced by the composer during this period. This study discusses these sonatas
and raises some important issues about the disguised presence of nationalism
within these works.
Keywords: Francisco Mignone, chamber music, Sonatas for Violin and Piano,
experimentation, nationalism, 12-tone music.
6. The Mystic Chord as the harmonic
and structural basis of a late Scriabin work:
a comparative study of the Two Preludes, Op. 67 (1912-13)
William Davis (University of Georgia)
e-mail: [email protected]
Abstract: Alexander Scriabin’s Two Preludes, Op. 67 (1912-1913) are
representative of the tonal language of his late works, which was highly chromatic
and not obviously related to traditional tertian harmonic processes. An
understanding of the harmonies and structures of Op. 67 contributes not only to an
understanding of Scriabin’s innovative compositional techniques in his late works,
but also to an informed basis for making performance decisions.
Keywords: Scriabin, Mystic Chord, Two Preludes Op. 67, preludes, piano works,
chromatic harmony.
7. Mário de Andrade and the voice’s owner
Maria Elisa Pereira (UNESP)
e-mail: [email protected]
Abstract: Mário de Andrade’s texts on music are not limited to providing
information about national folklore or indications about performance or
composition. They reveal more than aesthetics, history or music theory. They are,
as well, a source of understanding about the thought, ideology and utopias of the
20th century. In those texts, of particular interest for singers of Brazilian music, we
find clues about the role of the singer in the view of this poet/professor/musicologist
from São Paulo.
Keywords: singing; Brazilian music; diction; Mário de Andrade, aesthetics;
ideology.
8. Vocal preparation of the chorister
Juliana Grassi Pinto Ferreira (Universidade de Itaúna)
e-mail: [email protected]
Abstract: Approaching the aspects related to the chorister's preparation for
choral singing. Emphasising on vocal warm-up and its relationship with
performance of the choir. Literature revision involving different areas of
knowledge that, direct or indirectly are related to the use of the voice and to
preservation of the singer's vocal health.
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Keywords: Choir; Choral music; The chorister's preparation; Vocal health; Vocal
warm-up; Vocal flexibility.
9. Learning the doublebass:
a multilevel approach to the
acquisition of motor performance skill
Florian Pertzborn (Instituto Politécnico do Porto)
e-mail: [email protected]
Abstract: The purpose of this paper is to elaborate on the multiple processes that
are involved in the practice and performance of the doublebass. The analysis of
movements and skills indispensable to performance will hopefully provide a
valuable approach to solving problems that have been related to playing this
instrument. By considering some of the basic needs of the physical nature of the
instrument and the performer, this work explores playing the doublebass with a
maximum of technical ease and economy in order to allow the greatest possible
focus on musical expression.
Keywords: doublebass, learning, motor control, pendulum motion, perception,
sensory training, skill acquisition, simple and complex movements
10. The problem of the 'aesthetic phases’ and the Suite for solo
guitar in the compositional work of Guerra-Peixe
Clayton Vetromilla (UFPel)
e-mail: [email protected]
Abstract: Regarding specialized bibliography, the analysis of an autograph
document significantly contributed to the establisment of a less simplified view of
the "phases" in Guerra-Peixe's musical work. In this context, the study of the
genesis of "Suite" (Ponteado, Acalanto e Choro) - his first piece for solo guitar and,
probably, the first composition on a national scale to be written for this instrument
following the rules of the twelvel-tones series - aims at clearing the concept of
"nationalizing the dodecaphonic system", which was created by the composer in
the late 1940s.
Keywords: Guerra-Peixe, dodecaphonic system, guitar, Grupo Música Viva,
musical
nationalism.
11. Bernstein's Kaddish Symphony:
genesis and purpose
Eli-Eri Moura (UFPB)
e-mail: [email protected]
Abstract: This paper presents some possible interpretations concerning the
conception of Leonard Bernstein’s Third Symphony Kaddish and the composer’s
intentions in writing the piece. The views are based on aspects of the composer’s
background and the piece’s context and content. Bernstein’s words about his own
music are also taken as reference. The discussion brings about specific issues
concerning the processes of creation and musical catharsis, and the relationships
between faith and music, text and music.
Keywords: Leonard Bernstein; Kaddish Symphony; intention and music; music
and faith; text and music; musical catharsis; Judaism.
12. The analysis and interpretation of Quatre Pièces
by Glauco Velásquez
Any Raquel Carvalho (UFRGS)
e-mail: [email protected]
Paulo Fernando Saraiva Macedo (UFRGS)
e-mail: [email protected]
Abstract: The interpretation of a musical work depends largely on the knowledge
and perception of its essence. The interpreter should use analysis as a primary tool
for making decisions related to interpretation, since it may reveal aspects that are
not always perceptible at first sight. This paper will present aspects that should be
considered for the interpretation of Quatre Pièces for organ, by Glauco Velásquez,
as a result of this analysis.
Keywords: analysis, interpretation, organ
13. “Natural” and “artificial” legatos in piano performance
Cláudio Richerme (UNESP)
e-mail: [email protected]
Abstract: A lack of understanding of some of the timbristic details of the piano, as
well as of mechanical details entailed in legato with the fingers or with the right
pedal, causes problems in the study and teaching of the instrument. In a precise
analysis of the real possibilities of control of legato on the piano, it is important to
consider that the timbre directly influences the hearer's sensations.
Keywords: piano, legato, pedal, timbre
14. Hostilio Soares’ catalog of works
Arnon Sávio Reis de Oliveira (UEMG)
e-mail: [email protected]
Abstract: This article presents the catalog of works of the braziliam composer
Hostílio Soares, preserved in the collection Hostílio Soares of the Research Center
of the School of Music of Minas Gerais State University. Describes briefly the
composer, biographic and stilistically, catalog’s elaboration process and its
exposition.
Keywords: Hostílio Soares, catalog, biography.