O Music-making do guitarrista-compositor contemporâneo
Autor(a) principal: | |
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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 |
Resumo: | 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). |
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O Music-making do guitarrista-compositor contemporâneoThis 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).Este artigo descreve linhas gerais da minha investigação doutoral realizada na Universidade de Aveiro sobre o music-making de guitarristas-compositores surgidos nos anos 1970/80 que gravam sua própria obra em discos, tocam a mesma em concertos e também a ministram em aulas. Como performer que também compõe para o instrumento, busco uma teorização do music-making. Os caminhos metodológicos desta investigação qualitativa foram desenvolvidos através: 1) da investigação de discos gravados; 2) do estudo observacional participante de design flexível nas master classes, ensaios e recitais; 3) do estudo de documentos escritos pelos sujeitos da pesquisa. A partir da pesquisa discográfica com dezasseis guitarristascompositores, Roland Dyens e Dusan Bogdanovic tornaram-se o eixo principal desta investigação. Examino como os mesmos articulam as formas do music-making em situações presenciais, comparando-as com os discos gravados. A pesquisa de campo foi realizada de outubro de 2012 a outubro de 2013 em França, Espanha, Liechtenstein e Sérvia. A coleta de dados ocorreu nos Festivais de Colmar, Belgrado, Sevilha e Vaduz. A observação de recitais ocorreu em Paris, Strasbourg e Colmar. Para a análise dos dados me apoio nos modos de ‘composiçãoperformance’ de Finnegan (1989) e na tipologia de music-making de Elliot (1995).UA Editora2019-03-29info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttps://doi.org/10.34624/postip.v2i0.1459oai:proa.ua.pt:article/1459Post-ip: Journal of the International Forum for Studies in Music and Dance; Vol 2 (2013): Post-ip’13 - Journal of the International Forum for Studies in Music and Dance; 178-187Post-ip: Revista do Fórum Internacional de Estudos em Música e Dança; vol. 2 (2013): Post-ip'13 - Revista do Fórum Internacional de Estudos em Música e Dança; 178-1872184-6138reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPporhttps://proa.ua.pt/index.php/postip/article/view/1459https://doi.org/10.34624/postip.v2i0.1459https://proa.ua.pt/index.php/postip/article/view/1459/1195Corrêa, Marcos Kröninginfo:eu-repo/semantics/openAccess2022-12-21T07:45:34Zoai:proa.ua.pt:article/1459Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T16:28:39.334164Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
O Music-making do guitarrista-compositor contemporâneo |
title |
O Music-making do guitarrista-compositor contemporâneo |
spellingShingle |
O Music-making do guitarrista-compositor contemporâneo Corrêa, Marcos Kröning |
title_short |
O Music-making do guitarrista-compositor contemporâneo |
title_full |
O Music-making do guitarrista-compositor contemporâneo |
title_fullStr |
O Music-making do guitarrista-compositor contemporâneo |
title_full_unstemmed |
O Music-making do guitarrista-compositor contemporâneo |
title_sort |
O Music-making do guitarrista-compositor contemporâneo |
author |
Corrêa, Marcos Kröning |
author_facet |
Corrêa, Marcos Kröning |
author_role |
author |
dc.contributor.author.fl_str_mv |
Corrêa, Marcos Kröning |
description |
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). |
publishDate |
2019 |
dc.date.none.fl_str_mv |
2019-03-29 |
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info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
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article |
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publishedVersion |
dc.identifier.uri.fl_str_mv |
https://doi.org/10.34624/postip.v2i0.1459 oai:proa.ua.pt:article/1459 |
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https://doi.org/10.34624/postip.v2i0.1459 |
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oai:proa.ua.pt:article/1459 |
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https://proa.ua.pt/index.php/postip/article/view/1459 https://doi.org/10.34624/postip.v2i0.1459 https://proa.ua.pt/index.php/postip/article/view/1459/1195 |
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info:eu-repo/semantics/openAccess |
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openAccess |
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application/pdf |
dc.publisher.none.fl_str_mv |
UA Editora |
publisher.none.fl_str_mv |
UA Editora |
dc.source.none.fl_str_mv |
Post-ip: Journal of the International Forum for Studies in Music and Dance; Vol 2 (2013): Post-ip’13 - Journal of the International Forum for Studies in Music and Dance; 178-187 Post-ip: Revista do Fórum Internacional de Estudos em Música e Dança; vol. 2 (2013): Post-ip'13 - Revista do Fórum Internacional de Estudos em Música e Dança; 178-187 2184-6138 reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
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RCAAP |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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