O Music-making do guitarrista-compositor contemporâneo

• Autor(a) principal: Corrêa, Marcos Kröning
• Data de Publicação: 2019
• Tipo de documento: Artigo
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: https://doi.org/10.34624/postip.v2i0.1459

This article describes the outline of my doctoral research which I am currently conducting at the University of Aveiro, about the music-making of guitarist-composers who emerged in the 1980s and who have recorded, taught and performed their own work. As a performer and composer, I seek to develop a theory about music-making. The methodological approaches of this qualitative research were developed through: 1) an investigation of recorded music; 2) participation in and observation of the flexible design of master classes, rehearsals, and recitals; and 3) documents written by the research subjects. I researched sixteen guitaristcomposers; however, the crux of my investigation focused on Roland Dyens and Dusan Bogdanovic. I examined the articulation and dimensions of their ‘live performances’ and compared them to recordings. The fieldwork was carried out from October 2012 to October 2013 in France, Spain, Liechtenstein, and Serbia. The data collection occurred at Colmar festivals, Belgrade, Seville, and Vaduz. The recitals were observed in Paris, Colmar and Strasbourg, and the analysis of the data relies on the concept of ‘composition-in-performance’ by Finnegan (1989) and the typology of music-making by Elliot (1995).