O canto em Linda Wise: ação imaginativa e interpretação
Autor(a) principal: | |
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Data de Publicação: | 2019 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações da PUC_SP |
Texto Completo: | https://tede2.pucsp.br/handle/handle/22476 |
Resumo: | in the observation of the existing dissociation between voice/body and body/psyche, often present in the vocal work with singers both in Singing as in Speech Therapy. Such fact may be an issue for the formation and career of singers who aspire to a vocal art that expresses singularity. The researcher is a professional singer with a career of 22 years and has studied with actor, singer and stage director Linda Wise, whose perspective is circumscribed within the listening, observation and revelation of the expressive and artistic potential that may unveil each individual’s imaginative action. This research has as a base for its structure the changes achieved through the work with Linda Wise. Objective: describe and analyze Professor Linda Wise’s interpretation work in the workshop “The art of interpretation” having the tutor’s own vision as perspective, this researcher’s experience, and that of the other participating subjects. Method: it is an ethnographic case study approved by the university’s ethics committee and formally agreed upon by all participating subjects. The data collection for this dissertation has three approaches: a semi structured interview with Linda Wise comprehending her formation, her vision on voice, her workshop practice, the participation of the body in the work with singers, the place of emotion and the question of the interpreter; the researcher’s personal testimony as a participant in the workshop and, as a third source of data, the answers obtained in pre and post workshop questionnaires by 12 volunteer subjects (10 women and 2 men), first-timers between 23 to 54 years of age. In the investigation before the workshop, the subjects were characterized in relation to: occupation, education, vocal complaint (or none), and duration of singing studies. After the workshop, the questions focused on the possible changes and participants’ perceptions about: breathing, body, voice, singing and interpretation. Only one question appears in both questionnaires: the self-assessment, with scores from 0 to 10, on their own breathing, body awareness, musical ear/perception, vocalization, articulation, artistic expression, emotion, resonance and interpretation. The chapter “The art of interpretation” is a testimony of this researcher about the workshop over her participation in six editions. It is permeated by thematic categories, structured by statements in the interview with Linda Wise. Results: In the self-assessment chart, which compares pre and post aspects of body awareness, resonance and emotion, 83.33% (10 subjects) achieved higher scores post workshop. In regard to interpretation, subjects emphasized, after the workshop, a closer connection between the singing and the body, more attention to the meaning and context of the lyrics, greater musical perception concerning the melody and its flow, access to the emotion through the body process, the surfacing of emotion from places never explored before, new self-perception territories, and the unveiling of hidden paths. Final considerations: the workshop “The art of interpretation” is a proposal that reveals the voice and the creative capacity of the subjects from the listening to themselves and to the others, having the body work as a driving force and a protagonist of this body-voice unity. Linda Wise thus suggests a paradigm break in the work with singers by investigating the ways traced by a voice in search of its singularity associated with the bio-psyche condition. Such approach provided the workshop participants with an alignment between their expressivity and their musical ear, the proprioception and the imaginative action regarding the interpretation |
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Andrada e Silva, Marta Assumpção dehttp://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K8644894H3Santos, Fabiana Cozza dos2019-08-14T10:01:48Z2019-08-06Santos, Fabiana Cozza dos. O canto em Linda Wise: ação imaginativa e interpretação. 2019. 110 f. Dissertação (Mestrado em Fonoaudiologia) - Programa de Estudos Pós-Graduados em Fonoaudiologia, Pontifícia Universidade Católica de São Paulo, São Paulo, 2019.https://tede2.pucsp.br/handle/handle/22476in the observation of the existing dissociation between voice/body and body/psyche, often present in the vocal work with singers both in Singing as in Speech Therapy. Such fact may be an issue for the formation and career of singers who aspire to a vocal art that expresses singularity. The researcher is a professional singer with a career of 22 years and has studied with actor, singer and stage director Linda Wise, whose perspective is circumscribed within the listening, observation and revelation of the expressive and artistic potential that may unveil each individual’s imaginative action. This research has as a base for its structure the changes achieved through the work with Linda Wise. Objective: describe and analyze Professor Linda Wise’s interpretation work in the workshop “The art of interpretation” having the tutor’s own vision as perspective, this researcher’s experience, and that of the other participating subjects. Method: it is an ethnographic case study approved by the university’s ethics committee and formally agreed upon by all participating subjects. The data collection for this dissertation has three approaches: a semi structured interview with Linda Wise comprehending her formation, her vision on voice, her workshop practice, the participation of the body in the work with singers, the place of emotion and the question of the interpreter; the researcher’s personal testimony as a participant in the workshop and, as a third source of data, the answers obtained in pre and post workshop questionnaires by 12 volunteer subjects (10 women and 2 men), first-timers between 23 to 54 years of age. In the investigation before the workshop, the subjects were characterized in relation to: occupation, education, vocal complaint (or none), and duration of singing studies. After the workshop, the questions focused on the possible changes and participants’ perceptions about: breathing, body, voice, singing and interpretation. Only one question appears in both questionnaires: the self-assessment, with scores from 0 to 10, on their own breathing, body awareness, musical ear/perception, vocalization, articulation, artistic expression, emotion, resonance and interpretation. The chapter “The art of interpretation” is a testimony of this researcher about the workshop over her participation in six editions. It is permeated by thematic categories, structured by statements in the interview with Linda Wise. Results: In the self-assessment chart, which compares pre and post aspects of body awareness, resonance and emotion, 83.33% (10 subjects) achieved higher scores post workshop. In regard to interpretation, subjects emphasized, after the workshop, a closer connection between the singing and the body, more attention to the meaning and context of the lyrics, greater musical perception concerning the melody and its flow, access to the emotion through the body process, the surfacing of emotion from places never explored before, new self-perception territories, and the unveiling of hidden paths. Final considerations: the workshop “The art of interpretation” is a proposal that reveals the voice and the creative capacity of the subjects from the listening to themselves and to the others, having the body work as a driving force and a protagonist of this body-voice unity. Linda Wise thus suggests a paradigm break in the work with singers by investigating the ways traced by a voice in search of its singularity associated with the bio-psyche condition. Such approach provided the workshop participants with an alignment between their expressivity and their musical ear, the proprioception and the imaginative action regarding the interpretationIntrodução: este estudo nasce do interesse em refletir sobre o intérprete da canção e observar a existente dissociação entre voz/corpo e corpo/psiquismo muitas vezes presente no trabalho vocal com cantores, tanto na área do Canto como na Fonoaudiologia. Tal fato pode ser um complicador na formação e na trajetória de cantores que almejam uma arte vocal que expresse a singularidade. A pesquisadora, cantora profissional há 22 anos, estudou com a atriz, cantora e diretora de teatro, Linda Wise, cuja perspectiva dá-se no âmbito da escuta, da observação e da revelação do potencial expressivo e artístico que permite desnudar a ação imaginativa de cada indivíduo. Foi a partir das mudanças alcançadas por esse trabalho que esta pesquisa foi estruturada. Objetivo: descrever e analisar o trabalho de interpretação da professora Linda Wise por meio da oficina “A arte da interpretação” tendo como perspectiva a visão da própria autora, a vivência da pesquisadora e dos sujeitos que participaram da oficina. Método: trata-se de um estudo de caso etnográfico, aprovado pelo comitê de ética da universidade em que todos os sujeitos da pesquisa assinaram o termo de consentimento. A coleta de material da dissertação conta com três abordagens: uma entrevista semiestruturada com Linda Wise que, de modo geral, abrange sua formação, sua visão sobre voz, sua prática na oficina, a participação do corpo no trabalho com cantores, o lugar da emoção e a questão do intérprete; o relato pessoal da pesquisadora que como sujeito participante descreve a oficina e, como terceiro dado, a aplicação de um questionário pré e pós-oficina “A Arte da Interpretação” respondido por 12 sujeitos voluntários, estreantes, 10 mulheres e dois homens, com idades entre 23 e 54 anos. Na investigação antes da oficina os sujeitos foram caracterizados em relação à: profissão, formação, presença ou não de queixa vocal, tempo de estudo com canto. Após o trabalho, o foco das questões foram as possíveis mudanças e percepções dos participantes sobre: respiração, corpo, voz, canto e interpretação. Uma única pergunta se repete no pré e pós-oficina: a autoavaliação, com notas de 0 a 10, em relação à própria respiração, consciência corporal, escuta/percepção musical, vocalização, articulação, expressão artística, emoção, ressonância e interpretação. O capítulo “A Arte de Interpretação” é um relato pessoal da pesquisadora sobre a oficina - vivenciada por ela em seis edições - permeado por categorias temáticas, estruturadas por frases extraídas da entrevista com Linda Wise. Resultados: No quadro de autoavaliação, que compara aspectos pré e pós-oficina nos tópicos: consciência corporal, ressonância e emoção, 83.33% (10 alunos) se deram notas mais altas no momento pós. Na questão da interpretação, os alunos destacaram, após a oficina, maior conexão entre o cantar e o corpo; atenção ao significado e contexto da letra da canção; maior percepção musical no que tange à melodia e seu fluxo; acesso à emoção pelo processo corporal; afloramento da emoção a partir de lugares nunca antes explorados; novos territórios de autopercepção e desvelamento de caminhos inéditos até então. Considerações finais: a oficina “A Arte da Interpretação” é uma proposta que revela a voz e a capacidade criativa do sujeito a partir da escuta de si próprio e do outro, tendo o trabalho corporal como motriz e protagonista deste corpo-voz enquanto unidade. Linda Wise sugere com isso uma quebra de paradigma no trabalho com o cantor, ao investigar os caminhos percorridos por uma voz em busca de sua singularidade associada à condição biopsíquica. Tal abordagem proporcionou aos sujeitos que realizaram a oficina um alinhamento de sua expressividade com a escuta musical, a propriocepção e a ação imaginativa no que tange à interpretaçãoCoordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESapplication/pdfhttp://tede2.pucsp.br/tede/retrieve/49932/Fabiana%20Cozza%20dos%20Santos.pdf.jpgporPontifícia Universidade Católica de São PauloPrograma de Estudos Pós-Graduados em FonoaudiologiaPUC-SPBrasilFaculdade de Ciências Humanas e da SaúdeVozCantoInterpretaçãoVoiceSingingInterpretationCNPQ::CIENCIAS DA SAUDE::FONOAUDIOLOGIAO canto em Linda Wise: ação imaginativa e interpretaçãoinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisinfo:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da PUC_SPinstname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPTEXTFabiana Cozza dos Santos.pdf.txtFabiana Cozza dos Santos.pdf.txtExtracted texttext/plain232835https://repositorio.pucsp.br/xmlui/bitstream/handle/22476/4/Fabiana%20Cozza%20dos%20Santos.pdf.txt76decbfec3d0fd6de8c7f5fa05b71664MD54LICENSElicense.txtlicense.txttext/plain; charset=utf-82165https://repositorio.pucsp.br/xmlui/bitstream/handle/22476/1/license.txtbd3efa91386c1718a7f26a329fdcb468MD51ORIGINALFabiana Cozza dos Santos.pdfFabiana Cozza dos Santos.pdfapplication/pdf888571https://repositorio.pucsp.br/xmlui/bitstream/handle/22476/2/Fabiana%20Cozza%20dos%20Santos.pdf3cfbb9bf945ba7a97d3094e3f43060aeMD52THUMBNAILFabiana Cozza dos Santos.pdf.jpgFabiana Cozza dos Santos.pdf.jpgGenerated Thumbnailimage/jpeg3265https://repositorio.pucsp.br/xmlui/bitstream/handle/22476/3/Fabiana%20Cozza%20dos%20Santos.pdf.jpg922d31935168ad9db407e8757b54ca8fMD53handle/224762022-04-28 10:53:05.372oai:repositorio.pucsp.br: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Biblioteca Digital de Teses e Dissertaçõeshttps://sapientia.pucsp.br/https://sapientia.pucsp.br/oai/requestbngkatende@pucsp.br||rapassi@pucsp.bropendoar:2022-04-28T13:53:05Biblioteca Digital de Teses e Dissertações da PUC_SP - Pontifícia Universidade Católica de São Paulo (PUC-SP)false |
dc.title.por.fl_str_mv |
O canto em Linda Wise: ação imaginativa e interpretação |
title |
O canto em Linda Wise: ação imaginativa e interpretação |
spellingShingle |
O canto em Linda Wise: ação imaginativa e interpretação Santos, Fabiana Cozza dos Voz Canto Interpretação Voice Singing Interpretation CNPQ::CIENCIAS DA SAUDE::FONOAUDIOLOGIA |
title_short |
O canto em Linda Wise: ação imaginativa e interpretação |
title_full |
O canto em Linda Wise: ação imaginativa e interpretação |
title_fullStr |
O canto em Linda Wise: ação imaginativa e interpretação |
title_full_unstemmed |
O canto em Linda Wise: ação imaginativa e interpretação |
title_sort |
O canto em Linda Wise: ação imaginativa e interpretação |
author |
Santos, Fabiana Cozza dos |
author_facet |
Santos, Fabiana Cozza dos |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Andrada e Silva, Marta Assumpção de |
dc.contributor.authorLattes.fl_str_mv |
http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K8644894H3 |
dc.contributor.author.fl_str_mv |
Santos, Fabiana Cozza dos |
contributor_str_mv |
Andrada e Silva, Marta Assumpção de |
dc.subject.por.fl_str_mv |
Voz Canto Interpretação |
topic |
Voz Canto Interpretação Voice Singing Interpretation CNPQ::CIENCIAS DA SAUDE::FONOAUDIOLOGIA |
dc.subject.eng.fl_str_mv |
Voice Singing Interpretation |
dc.subject.cnpq.fl_str_mv |
CNPQ::CIENCIAS DA SAUDE::FONOAUDIOLOGIA |
description |
in the observation of the existing dissociation between voice/body and body/psyche, often present in the vocal work with singers both in Singing as in Speech Therapy. Such fact may be an issue for the formation and career of singers who aspire to a vocal art that expresses singularity. The researcher is a professional singer with a career of 22 years and has studied with actor, singer and stage director Linda Wise, whose perspective is circumscribed within the listening, observation and revelation of the expressive and artistic potential that may unveil each individual’s imaginative action. This research has as a base for its structure the changes achieved through the work with Linda Wise. Objective: describe and analyze Professor Linda Wise’s interpretation work in the workshop “The art of interpretation” having the tutor’s own vision as perspective, this researcher’s experience, and that of the other participating subjects. Method: it is an ethnographic case study approved by the university’s ethics committee and formally agreed upon by all participating subjects. The data collection for this dissertation has three approaches: a semi structured interview with Linda Wise comprehending her formation, her vision on voice, her workshop practice, the participation of the body in the work with singers, the place of emotion and the question of the interpreter; the researcher’s personal testimony as a participant in the workshop and, as a third source of data, the answers obtained in pre and post workshop questionnaires by 12 volunteer subjects (10 women and 2 men), first-timers between 23 to 54 years of age. In the investigation before the workshop, the subjects were characterized in relation to: occupation, education, vocal complaint (or none), and duration of singing studies. After the workshop, the questions focused on the possible changes and participants’ perceptions about: breathing, body, voice, singing and interpretation. Only one question appears in both questionnaires: the self-assessment, with scores from 0 to 10, on their own breathing, body awareness, musical ear/perception, vocalization, articulation, artistic expression, emotion, resonance and interpretation. The chapter “The art of interpretation” is a testimony of this researcher about the workshop over her participation in six editions. It is permeated by thematic categories, structured by statements in the interview with Linda Wise. Results: In the self-assessment chart, which compares pre and post aspects of body awareness, resonance and emotion, 83.33% (10 subjects) achieved higher scores post workshop. In regard to interpretation, subjects emphasized, after the workshop, a closer connection between the singing and the body, more attention to the meaning and context of the lyrics, greater musical perception concerning the melody and its flow, access to the emotion through the body process, the surfacing of emotion from places never explored before, new self-perception territories, and the unveiling of hidden paths. Final considerations: the workshop “The art of interpretation” is a proposal that reveals the voice and the creative capacity of the subjects from the listening to themselves and to the others, having the body work as a driving force and a protagonist of this body-voice unity. Linda Wise thus suggests a paradigm break in the work with singers by investigating the ways traced by a voice in search of its singularity associated with the bio-psyche condition. Such approach provided the workshop participants with an alignment between their expressivity and their musical ear, the proprioception and the imaginative action regarding the interpretation |
publishDate |
2019 |
dc.date.accessioned.fl_str_mv |
2019-08-14T10:01:48Z |
dc.date.issued.fl_str_mv |
2019-08-06 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
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info:eu-repo/semantics/masterThesis |
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masterThesis |
status_str |
publishedVersion |
dc.identifier.citation.fl_str_mv |
Santos, Fabiana Cozza dos. O canto em Linda Wise: ação imaginativa e interpretação. 2019. 110 f. Dissertação (Mestrado em Fonoaudiologia) - Programa de Estudos Pós-Graduados em Fonoaudiologia, Pontifícia Universidade Católica de São Paulo, São Paulo, 2019. |
dc.identifier.uri.fl_str_mv |
https://tede2.pucsp.br/handle/handle/22476 |
identifier_str_mv |
Santos, Fabiana Cozza dos. O canto em Linda Wise: ação imaginativa e interpretação. 2019. 110 f. Dissertação (Mestrado em Fonoaudiologia) - Programa de Estudos Pós-Graduados em Fonoaudiologia, Pontifícia Universidade Católica de São Paulo, São Paulo, 2019. |
url |
https://tede2.pucsp.br/handle/handle/22476 |
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por |
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por |
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info:eu-repo/semantics/openAccess |
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application/pdf |
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Pontifícia Universidade Católica de São Paulo |
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Programa de Estudos Pós-Graduados em Fonoaudiologia |
dc.publisher.initials.fl_str_mv |
PUC-SP |
dc.publisher.country.fl_str_mv |
Brasil |
dc.publisher.department.fl_str_mv |
Faculdade de Ciências Humanas e da Saúde |
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Pontifícia Universidade Católica de São Paulo |
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MD5 MD5 MD5 MD5 |
repository.name.fl_str_mv |
Biblioteca Digital de Teses e Dissertações da PUC_SP - Pontifícia Universidade Católica de São Paulo (PUC-SP) |
repository.mail.fl_str_mv |
bngkatende@pucsp.br||rapassi@pucsp.br |
_version_ |
1809277809933156352 |