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

Visualizações: 82

Autores

  • Roseane Yampolschi Universidade Federal do Paraná

DOI:

https://doi.org/10.33871/23179937.2020.8.1.15

Palavras-chave:

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

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.

Downloads

Não há dados estatísticos.

Biografia do Autor

Roseane Yampolschi, Universidade Federal do Paraná

Composer and interdisciplinary artist. Music professor at the Arts Department of the Federal University of Parana. Graduated in Music Composition by the Federal University of Rio de Janeiro (1986), earned a MA degree in Music by the Eastern Illinois University (1991) and a DMA degree in Music Composition by the University of Illinois at Urbana (1996). Received many prizes and distinctions for her works in Brazil and abroad, such as the Biennial Festival of Brazilian Contemporary Music 2019, 2017, 2013, 2007 (Rio de Janeiro), the International Fund for the Promotion of Culture 2017 by UNESCO, and the ISCM Festival World Music Days (Romania, 1999 / Norway 1990). As a researcher, her main interests today are focused in the areas of gestural embodiment in creative processes, interdisciplinarity and contemporary musical aesthetics / poetics. ORCID: https://orcid.org/0000-0002-4615-8116.

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. CiÌrculos 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. DOI: https://doi.org/10.1080/07494467.2012.725815

FERNEYHOUGH, Brian. Thinking once more.... In: SZENDY, Peter (Ed.). Enseigner la composition: de Schoenberg au multimeÌdia. 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 muÌsica e educação. 2. ed. São Paulo: UNESP, 2008.

FONTERRADA, Marisa Trench de Oliveira. DiaÌlogo interaÌreas: 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. DOI: https://doi.org/10.5040/9780755603435.ch-007

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

KATER, Carlos. "Por que muÌsica nas escolas?": algumas reflexões. In: JORDÃO, Gisele et al. (Coord.). A muÌsica 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. DOI: https://doi.org/10.4324/9780203145098

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

YAMPOLSCHI, Roseane. A eficaÌcia da encenação gestual na praÌtica 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.

Downloads

Publicado

27.03.2020

Como Citar

Yampolschi, R. (2020). Teaching Music Composition: A Poetic Interdisciplinary Path Through Art and Life. Revista Vórtex, 8(1), 15. https://doi.org/10.33871/23179937.2020.8.1.15

Edição

v. 8 n. 1 (2020): Revista Vórtex

Seção

Artigos

Licença

Copyright (c) 2021 Roseane Yampolschi

Creative Commons License
Este trabalho está licenciado sob uma licença Creative Commons Attribution 4.0 International License.

Autores mantêm os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a Licença Creative Commons Attribution que permite o compartilhamento do trabalho com reconhecimento da autoria e publicação inicial nesta revista.

Métricas