Teaching Music Composition: A Poetic Interdisciplinary Path Through Art and Life

Roseane Yampolschi

Resumo


In this essay I introduce some ideas and experiences that have been the object of numerous studies and resource materials for composition for several years. This whole information has to do, firstly, with an interdisciplinary context of studies and music creation that refers back to my doctoral thesis; secondly, with research and creative experiences based on the musical gesture and that one under the perspective of “enactment”; and thirdly, with a poetic view of the sonorous architecture of the artistic work from an intrinsic relation between sound and silence.


Palavras-chave


Music Composition; Teaching Music Composition; Interdisciplinarity; Embodiment and Musical Gesture

Texto completo:

PDF (English)

Referências


BROGAN, Walter A. The Intractable Interrelationship of Physis and Techne. In: HYLAND, Drew A.; MANOUSSAKIS, John P. (Eds.). Heidegger and the Greeks: Interpretive Essays. Bloomington: Indiana University Press, 2006. p. 43-56.

CAESAR, Rodolfo. Círculos ceifados. Rio de Janeiro: 7Letras, 2008. CAGE, John. Silence. Hanover, NH: Wesleyan University Press, 1961.

CZERNOWIN, Chaya. Teaching That Which Is Not Yet There. Contemporary Music Review, v. 31, n. 4, p. 283-289, August 2012.

FERNEYHOUGH, Brian. Thinking once more.... In: SZENDY, Peter (Ed.). Enseigner la composition: de Schoenberg au multimédia. Paris: IRCAM, 1998. p. 187-199.

FERRETI, Ulisses. Entornos sonoros: sonoridades e ordenamentos. Thesis (Doctoral, Music / Composition). Federal University of Rio Grande do Sul, Porto Alegre, 2011.

FONTERRADA, Marisa Trench de Oliveira. De tramas e fios: um ensaio sobre música e educação. 2. ed. São Paulo: UNESP, 2008.

FONTERRADA, Marisa Trench de Oliveira. Diálogo interáreas: o papel da educação na atualidade. Revista da Abem, Porto Alegre, v. 18, p. 27-33, out. 2007.

HONGISTO, Ilona. Moments of Affection: Jayce Salloum’s Everything and Nothing and the Thresholds of Testimonial Video. In: BARRETT, E.; BOLT, B. (Eds.). Carnal Knowledge: Towards a ‘New Materialism’ Through the Arts. London: I.B. Tauris, 2013. p. 105-112.

JOHNSON, Mark L. Embodied Musical Meaning. Theory and Practice, New York, v. 22/23, p. 95- 102, 1997-98.

KATER, Carlos. “Por que música nas escolas?”: algumas reflexões. In: JORDÃO, Gisele et al. (Coord.). A música na escola. São Paulo: Alluci & Associados Comunicações, 2012. p. 42-45.

PAYNTER, John. Hear and Now: An Introduction to Modern Music in Schools. London: Universal Edition, 1972.

PAYNTER, J.; ASTON, P. Sound and Silence: Classroom Projects in Creative Music. London: Cambridge University Press, 1970.

PETERS, Deniz. Touch: Real, Apparent and Absent – On Bodily Expression in Electronic Music. In: PETERS, D.; ECKEL, G.; DORSCHEL, A. (Eds.). Bodily Expression in Electronic Music: Perspectives on Reclaiming Performativity. New York: Routledge, 2012. p. 17-24.

PITOMBEIRA, Liduino. Paradigmas para o ensino da composição musical nos séculos XX e XXI. Opus, Porto Alegre, v. 17, n. 1, p. 39-50, jun. 2011.

YAMPOLSCHI, Roseane. A eficácia da encenação gestual na prática da improvisação livre para fins de criação musical. Percepta, v. 4, n. 2, p. 33-46, 2017.

YAMPOLSCHI, Roseane. Standing and Conflating: A Dialogic Model for Interdisciplinarity in Composition. 1996. Thesis (Doctoral / Music Composition). The University of Illinois at Urbana- Champaign, FAA, 1997.


Apontamentos

  • Não há apontamentos.


© 2020 Revista Vórtex | Vortex Music Journal