Composição e performance podem ser, e frequentemente tem sido, pesquisa

Visualizações: 138

Autores

  • Ian Pace City University of London
  • Vitória Liz P. Louveira Universidade Federal do Mato Grosso do Sul
  • William Teixeira Universidade Federal do Mato Grosso do Sul

DOI:

https://doi.org/10.33871/23179937.2020.8.1.1-23

Resumo

O artigo de John Croft “Composição não é Pesquisa” desafia uma concepção e um ideal de trabalho composicional na academia que ganhou destaque ao longo de várias décadas no Reino Unido. Como performer acadêmico, que também escreve sobre assuntos acadêmicos não relacionados à performance, abordo este desafio, partilhando algumas das restrições de Croft sobre as maneiras pelas quais essas concepções têm se manifestado, e também algumas preocupações sobre a integração indiscriminada de profissionais na academia e as implicações para as formas acadêmicas mais tradicionais. No entanto, eu creio que muitas das formulações e suposições de Croft são limitadas, e, ao invés disso, argumento que boa parte do processo de composição e performance constituem-se em pesquisa ao lidar com questões difí­ceis, explorando soluções, e produzindo trabalhos criativos que incorporam essas soluções, das quais outros podem se beneficiar também.

Downloads

Não há dados estatísticos.

Biografia do Autor

Ian Pace, City University of London

Ian Pace é um pianista de reputação estabelecida, especializado nos mais distantes pontos do modernismo musical e do virtuosismo transcendental, além de escritor e musicólogo com foco em questões de performance, música e sociedade e vanguarda. Ele nasceu em Hartlepool, estudou na Escola de Música de Chetham, The Queen's College, Oxford e, como Fulbright Scholar, na Juilliard School, em Nova York. Seu professor principal, e uma grande influência em seu trabalho, foi o pianista húngaro György Sándor, um aluno de Bartók. Atualmente é professor da City University London. E-mail: ianpace1@city.ac.uk

Vitória Liz P. Louveira, Universidade Federal do Mato Grosso do Sul

Vitória Louveira é acadêmica do Curso de Música - Licenciatura da UFMS e ministra aulas de violão na Escola de Música da UFMS. Atualmente é bolsista de iniciação cientí­fica do PIBIC-CNPq. E-mail: vitorializparaguassu@gmail.com

William Teixeira, Universidade Federal do Mato Grosso do Sul

William Teixeira é Doutor em Música pela USP e Professor Adjunto da UFMS. Como violoncelista já atuou como solista frente a grupos como a Orquestra Sinfônica da UNICAMP, Orquestra Sinfônica de Rio Claro, Orquestra de Câmara da USP e a USP-Filarmônica. E-mail: william.teixeira@ufms.br

Referências

ADAMS, John; BACON, Jane; THYNNE, Lizzie. Peer Review and Criteria: A Discussion. In: ALLEGUE et al. Practice-as-Research. Londres: Palgrave Macmillan, 2009.

BARTHES, Roland. S/Z: An Essay. Tradução de Richard Miller. Nova York: Farrar, Straus & Giroux Inc, 1991.

BENJAMIN, Walter. The Writer of Modern Life: Essays on Charles Baudelaire. Tradução de Howard Eiland, Edmund Jephcott, Rodney Livingstone e Harry Zohn. Cambridge, MA: Harvard University Press, 2006.

BIGGS, Simon. New Media: The "˜First Word"™ in Art? In: SMITH, Hazel; DEAN, Roger. Practive-Led Research, Research-Led Practice in the Creative Arts. Edimburgo: Edinburgh University Press, 2009. DOI: https://doi.org/10.1515/9780748636303-004

BROWN, Andrew R; SORENSEN, Andrew. Integrating Creative Practice and Research in the Digital Media Arts. In: SMITH, Hazel; DEAN, Roger. Practive-Led Research, Research-Led Practice in the Creative Arts. Edimburgo: Edinburgh University Press, 2009. DOI: https://doi.org/10.1515/9780748636303-008

CLEMENTS, Andrew. Brian Ferneyhough. Music and Musicians, 26/3, pp. 36–9, 1977.

COBUSSEN, Marcel. The Trojan Horse: Epistemological Explorations Concerning Practice-based Research. Dutch Journal of Music Theory, vol. 12, n. 1, 2007.

COFFEY, Amanda. The Ethnographic Self: Fieldwork and the Representation of Identity. Londres: Sage, 1999. DOI: https://doi.org/10.4135/9780857020048

CRISPIN, Darla. Artistic Research and Music Scholarship: Musings and Models from a Continental European Perspective. In: DACK, Mine. Artistic Practice as Research in Music: Theory, Criticism, Practice. Londres: Ashgate, 2015.

CROFT, John Croft. Composition is not Research. TEMPO, Vol. 69, No. 272, pp. 6–11, 2015. DOI: https://doi.org/10.1017/S0040298214000989

DANIEL, Henry. Transnet: A Canadian-Based Cased Study on Practice-as-Research, or Rethinking Dance in a Knowledge-Based Society. In: ALLEGUE et al. Practice-as-Research. Londres: Palgrave Macmillan, 2009.

DAVIDSON, Jane W. Practice-based Music Research: Lessons from a Researcher"™s Personal History. In: DOGANTAN-DACK, Mine. Artistic Practice as Research in Music: Theory, Criticism, Practice. Londres: Routledge, 2016, pp. 93-106.

DOGANTAN-DACK, Mine. Artistic Practice as Research in Music: Theory, Criticism, Practice. Londres: Routledge, 2016. DOI: https://doi.org/10.4324/9781315568041

DRAPER, Paul; HARRISON, Scott. Through the Eye of a Needle: the Emergence of a Practice-Led Research Doctorate in Music. British Journal of Music Education, 28/1, pp. 87-102, 2011. DOI: https://doi.org/10.1017/S0265051710000434

EVANS, Richard J. Evans. The Myth of Germany"™s Missing Revolution. In: EVANS, Richard J. Evans. Rethinking German History: Nineteenth-Century Germany and the Origins of the Third Reich. Londres: HarperCollins, 1987.

FERNEYHOUGH, Brian. Collected Writings. Amsterdam: Harwood Academic Publishers, 1995.

FRAYLING, Christopher. Research in Art and Design. Royal College of Art Research Papers, 1/1, p. 5, 1993.

FREEMAN, John. Blood, Sweat & Theory: Research Through Practice in Performance. Budapeste: Libri Publishing, 2010.

GOJOWY, Detlef. Jefim Golyscheff - der unbequeme Vorläufer. Melos/Neue Zeitschrft fur Musik, 189/190, pp. 188–192, maio de 1975.

__________________. Frühe Zwölftonmusik in Rußland (1912–1915). Beiträge zur Musikwisscha, 32, pp. 17–24, 1990.

_________________. Neue sowjetische Musik der 20er Jahre. Regensburg: Laaber, 1980.

GOODALL, Jane. Nightmares in the Engine Room. In: SMITH, Hazel; DEAN, Roger. Practive-Led Research, Research-Led Practice in the Creative Arts. Edimburgo: Edinburgh University Press, 2009. DOI: https://doi.org/10.1515/9780748636303-011

HARVEY, Dixie Lynn. The Theoretical Treatises of Josef Matthias Hauer. Dissertação (Doutorado, Música). North Texas State University, 1980.

HARVEY, Jonathan. Brian Ferneyhough. The Musical Times, 120/1639, pp. 723–8, 1979. DOI: https://doi.org/10.2307/962346

HELLAWELL, Piers. Treating Composers as Researchers is Bonkers. Standpoint, Maio 2014) <https://standpointmag.co.uk/issues/may-2014/critique-may-14-treating-composers-as-researchers-bonkers-piers-hellawell/> [N.T.: link atualizado para esta edição. Acessado em 05 de fevereiro de 2020].

HOLT, Nicholas L. Representation, Legitimation, and Autoethnography: An Autoethnographic Writing Story. International Journal of Qualitative Methods, 2/1, Artigo 2, 2003. DOI: https://doi.org/10.1177/160940690300200102

HOW, Deborah H. Arnold Schoenberg"™s Prelude From The Suite For Piano, Op. 25: From Composition With Twelve Tones To The Twelve-Tone Method. Dissertação (Doutorado, Música). University of Southern California, 2009.

HULTBERG, Cecilia K. Artistic Processes in Music Performance: A Research Area Calling for Inter-Disciplinary Collaboration. Swedish Journal of Musicology, vol. 95, pp. 79–95, 2013.

JONES, Gareth Stedman. Languages of Class: Studies in English Working Class History from 1832 to 1982. Cambridge: Cambridge University Press, 1983.

KERSHAW, Baz. Practice as Research through Performance. In: SMITH, Hazel; DEAN, Roger. Practive-Led Research, Research-Led Practice in the Creative Arts. Edimburgo: Edinburgh University Press, 2009. DOI: https://doi.org/10.1515/9780748636303-006

MILLER, Lee; WHALLEY, Joanne. Partly Cloudy, Chance of Rain. In: FREEMAN, John. Blood, Sweat & Theory: Research Through Practice in Performance. Budapeste: Libri Publishing, 2010.

NELSON, Robin. Practice as Research in the Arts: Principles, Protocols, Pedagogies, Resistances. Londres: Palgrave Macmillan, 2013.

NELSON, Robin. Supervision, Documentation and Other Aspects of Praxis, In NELSON, Robin. Practice as Research in the Arts: Principles, Protocols, Pedagogies, Resistances. Londres: Palgrave Macmillan, 2013. DOI: https://doi.org/10.1057/9781137282910

OSA, Tom Eide. Knowledge in Musical Performance: Seeing Something as Something. Dutch Journal of Music Theory, vol. 12, n. 1, pp. 51–7, 2007.

PACE, IAN. Yefim Golyshev, Arnold Schoenberg, and the Origins of Twelve-Tone Music. Disponí­vel em: <https://ianpace.wordpress.com/2014/09/02/yefim-golyshev-arnold-schoenberg-and-the-origins-of-twelve-tone-music/>. Acesso em: 04 fev. 2020. [N.T. link e datas atualizados para esta edição]

REDHEAD, Lauren. Is Composition Research? Texto de 17 de janeiro de 2012. Disponí­vel em https://weblog.laurenredhead.eu/post/16023387444/is-composition-research. Acesso em: 04 fev. 2020. [N.T. link e datas atualizados para esta edição]

REID. Dianne. Cutting Choreography: Back and Forth between 12 Stages and 27 Seconds. In: BARRETT, Estelle; BOLT, Barbara. Practice as Research: Approaches to Creative Arts Enquiry. Bloomsbury: Londres: I.B. Tauris, 2010, pp. 47–63.

SCHIPPERS, Huib. The Marriage of Art and Academia. Dutch Journal of Music Theory, Vol 12/1, 34-40, 2007.

SCHIPPERS, Huib. The Marriage of Art and an Academy: Challenges and Opportunities for Music Research in Practice-Based Environments. Dutch Journal of Music Theory, vol. 12, n ° 1, pp. 34–40, 2007.

SMITH, Hazel; DEAN, Roger. Introduction. In: SMITH, Hazel; DEAN, Roger. Practive-Led Research, Research-Led Practice in the Creative Arts. Edimburgo: Edinburgh University Press, 2009. DOI: https://doi.org/10.1515/9780748636303

SPILLER, Henry. University Gamelan Ensembles as Research. In: RILEY, Shannon Rose; HUNTER, Lynette. Mapping Landscapes for Performance as Research: Scholarly Acts and Creative Cartographies. Basingstoke: Palgrave Macmillan, 2009.

SULLIVAN, Graeme. Making Space: The Purpose and Place of Practice-driven Research. In: SMITH, Hazel; DEAN, Roger. Practive-Led Research, Research-Led Practice in the Creative Arts. Edimburgo: Edinburgh University Press, 2009. DOI: https://doi.org/10.1515/9780748636303-003

VAES, Luk Vaes. To John Croft: When composition is not research. (5 de junho de 2015), em <http://artisticresearchreports.blogspot.com/2015/06/when-composition-is-not-research.html> [link atualizado pelos tradutores. Acessado em 05 de fevereiro de 2020].

WALLRUP, Erik. With Unease as Predicament: On Knowledge and Knowing in Artistic Research on Music. Swedish Journal of Musicology, vol. 95, pp. 25–40, 2013.

Downloads

Publicado

27.02.2020

Como Citar

Pace, I., Louveira, V. L. P., & Teixeira, W. (2020). Composição e performance podem ser, e frequentemente tem sido, pesquisa. Revista Vórtex, 8(1), 1–23. https://doi.org/10.33871/23179937.2020.8.1.1-23

Edição

Seção

Tradução

Métricas