Procesos de preparación para tocar en vivo: relatos de guitarristas de excelencia
Autor(a) principal: | |
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Data de Publicação: | 2020 |
Outros Autores: | |
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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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 |
dc.date.issued.fl_str_mv |
2020 |
dc.date.accessioned.fl_str_mv |
2021-01-13T04:09:59Z |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/other |
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info:eu-repo/semantics/publishedVersion |
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article |
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publishedVersion |
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http://hdl.handle.net/10183/217216 |
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2317-9937 |
dc.identifier.nrb.pt_BR.fl_str_mv |
001121339 |
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2317-9937 001121339 |
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http://hdl.handle.net/10183/217216 |
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spa |
language |
spa |
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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info:eu-repo/semantics/openAccess |
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openAccess |
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application/pdf |
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