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

Visualizações: 132

Authors

  • 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

Abstract

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

Download data is not yet available.

Author Biographies

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

References

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

Published

2020-02-27

How to Cite

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

Issue

Vol. 8 No. 1 (2020): Vortex Music Journal

Section

Translation

License

Copyright (c) 2021 Vortex Music Journal

Creative Commons License

This work is licensed under a 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.