Survey
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
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. the the the the 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.