Procesos de preparación para tocar en vivo: relatos de guitarristas de excelencia

Detalhes bibliográficos
Autor(a) principal: Iravedra, Rafael
Data de Publicação: 2020
Outros Autores: Wolff, Daniel
Tipo de documento: Artigo
Idioma: spa
Título da fonte: Repositório Institucional da UFRGS
Texto Completo: http://hdl.handle.net/10183/217216
Resumo: Even though the process of learning a musical work is inseparable from the results that a performer will achieve on stage, it is possible to distinguish the process of learning a piece from that of preparing it for a live performance. This study presents the analysis of 23 interviews and questionnaires conducted with acclaimed classical guitarists about strategies for preparing for public performances. We applied three processes of qualitative analysis as developed by Miles and Huberman (1994), namely data reduction, data display and conclusion drawing. The results showed the importance of practicing performances (through performance simulation, informal performances and self-recording). Other important aspects regarding this topic were the creation of an artistic image of the piece, fingerings, visualization, memorization and pre-concert preparation.
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spelling Iravedra, RafaelWolff, Daniel2021-01-13T04:09:59Z20202317-9937http://hdl.handle.net/10183/217216001121339Even though the process of learning a musical work is inseparable from the results that a performer will achieve on stage, it is possible to distinguish the process of learning a piece from that of preparing it for a live performance. This study presents the analysis of 23 interviews and questionnaires conducted with acclaimed classical guitarists about strategies for preparing for public performances. We applied three processes of qualitative analysis as developed by Miles and Huberman (1994), namely data reduction, data display and conclusion drawing. The results showed the importance of practicing performances (through performance simulation, informal performances and self-recording). Other important aspects regarding this topic were the creation of an artistic image of the piece, fingerings, visualization, memorization and pre-concert preparation.A pesar de que el proceso de aprendizaje de una obra musical tiene consecuencias directas en los resultados que un intérprete tendrá sobre el escenario, podemos diferenciar el proceso de aprendizaje de una obra del proceso de preparación para tocarla en vivo. Este trabajo presenta el análisis de 23 entrevistas y cuestionarios con guitarristas de excelencia sobre aspectos referentes a la preparación para tocar en púbico. El análisis siguió las directivas propuestas por Miles y Huberman (1994), partiendo de la interacción constante entre las fases de reducción de la información, disposición de los datos y verificación de conclusiones. Los resultados mostraron la importancia de la práctica de la performance, realizada a través de simulaciones, recitales informales y grabación de la propia ejecución. Otros aspectos que se mostraron relevantes fueron la creación de una imagen artística de la obra, la digitación, la visualización, la memorización y las rutinas pre-recital.application/pdfspaRevista Vórtex. Curitiba, PR : Universidade Estadual do Paraná, Escola de Música e Belas Artes do Paraná. Vol. 8, n. 3 (2020), p. 1-27Performance (Música)Performance ao vivoViolão clássicoPerformance planningLive performanceExpertise in performanceClassical guitarPreparación de la performancePerformance en vivoPerformance de excelenciaGuitarra clásicaProcesos de preparación para tocar en vivo: relatos de guitarristas de excelenciainfo:eu-repo/semantics/articleinfo:eu-repo/semantics/otherinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/openAccessreponame:Repositório Institucional da UFRGSinstname:Universidade Federal do Rio Grande do Sul (UFRGS)instacron:UFRGSTEXT001121339.pdf.txt001121339.pdf.txtExtracted Texttext/plain73297http://www.lume.ufrgs.br/bitstream/10183/217216/2/001121339.pdf.txt723b7e607f8ba3b4e7646e1b71eb8e18MD52ORIGINAL001121339.pdfTexto completo (espanhol)application/pdf351854http://www.lume.ufrgs.br/bitstream/10183/217216/1/001121339.pdf01f77ad6d474bfc2fd5a70d2bdff091dMD5110183/2172162021-03-09 04:33:29.257917oai:www.lume.ufrgs.br:10183/217216Repositório de PublicaçõesPUBhttps://lume.ufrgs.br/oai/requestopendoar:2021-03-09T07:33:29Repositório Institucional da UFRGS - Universidade Federal do Rio Grande do Sul (UFRGS)false
dc.title.pt_BR.fl_str_mv Procesos de preparación para tocar en vivo: relatos de guitarristas de excelencia
title Procesos de preparación para tocar en vivo: relatos de guitarristas de excelencia
spellingShingle Procesos de preparación para tocar en vivo: relatos de guitarristas de excelencia
Iravedra, Rafael
Performance (Música)
Performance ao vivo
Violão clássico
Performance planning
Live performance
Expertise in performance
Classical guitar
Preparación de la performance
Performance en vivo
Performance de excelencia
Guitarra clásica
title_short Procesos de preparación para tocar en vivo: relatos de guitarristas de excelencia
title_full Procesos de preparación para tocar en vivo: relatos de guitarristas de excelencia
title_fullStr Procesos de preparación para tocar en vivo: relatos de guitarristas de excelencia
title_full_unstemmed Procesos de preparación para tocar en vivo: relatos de guitarristas de excelencia
title_sort Procesos de preparación para tocar en vivo: relatos de guitarristas de excelencia
author Iravedra, Rafael
author_facet Iravedra, Rafael
Wolff, Daniel
author_role author
author2 Wolff, Daniel
author2_role author
dc.contributor.author.fl_str_mv Iravedra, Rafael
Wolff, Daniel
dc.subject.por.fl_str_mv Performance (Música)
Performance ao vivo
Violão clássico
topic Performance (Música)
Performance ao vivo
Violão clássico
Performance planning
Live performance
Expertise in performance
Classical guitar
Preparación de la performance
Performance en vivo
Performance de excelencia
Guitarra clásica
dc.subject.eng.fl_str_mv Performance planning
Live performance
Expertise in performance
Classical guitar
dc.subject.spa.fl_str_mv Preparación de la performance
Performance en vivo
Performance de excelencia
Guitarra clásica
description Even though the process of learning a musical work is inseparable from the results that a performer will achieve on stage, it is possible to distinguish the process of learning a piece from that of preparing it for a live performance. This study presents the analysis of 23 interviews and questionnaires conducted with acclaimed classical guitarists about strategies for preparing for public performances. We applied three processes of qualitative analysis as developed by Miles and Huberman (1994), namely data reduction, data display and conclusion drawing. The results showed the importance of practicing performances (through performance simulation, informal performances and self-recording). Other important aspects regarding this topic were the creation of an artistic image of the piece, fingerings, visualization, memorization and pre-concert preparation.
publishDate 2020
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dc.identifier.nrb.pt_BR.fl_str_mv 001121339
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dc.language.iso.fl_str_mv spa
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dc.relation.ispartof.pt_BR.fl_str_mv Revista Vórtex. Curitiba, PR : Universidade Estadual do Paraná, Escola de Música e Belas Artes do Paraná. Vol. 8, n. 3 (2020), p. 1-27
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