Discussing the teaching of composition at the university
Visualizações: 85DOI:
https://doi.org/10.33871/23179937.2020.8.1.14Resumen
The challenge involved in the teaching of musical composition is somewhat analogous to the issue of reconciling theory and practice; this is when the teacher– student relationship triggers a flow of information that leads to the construction of new concepts that are established by either or both sides. The present paper emerged from a roundtable held at the “The Teaching of Composition at the University” colloquium, which took place at the State University of Paraná in November 2019. The authors did not attempt to arrive at definitive conclusions but, rather, point out directions for critical reflection and practical approaches about the issue of teaching composition. The occasion was also an excellent one for sharing didactic experiences taking place at universities in Brazil and abroad.
Descargas
Citas
BERIO, Luciano. Remembering the Future. Boston: Harvard University Press, 2006. DOI: https://doi.org/10.2307/j.ctv1nzfghq
CATANZARO, Tatiana. Transformações na linguagem musical contemporânea instrumental e vocal sob
a influeÌ‚ncia da muÌsica eletroacuÌstica entre as deÌcadas de 1950-70. Rio de Janeiro: 7Letras, 2018.
______ Do descontentamento com a teÌcnica serial aÌ€ concepção da micropolifonia e da muÌsica de textura. Em: XV Congresso da Associação Nacional de Pesquisa e PoÌs-Graduação em MuÌsica, 2005, Rio de Janeiro. Anais do XV Congresso da ANPPOM. Rio de Janeiro, 2005.
CORNICELLO, Anthony. Timbral organization in Tristan Murail`s DeÌsinteÌgrations and Rituals by Anthony Cornicello. PhD Thesis. Waltham: Brandeis University, 2000.
FERNEYHOUGH, Brian; BOROS, James. Shattering the Vessels of Received Wisdom. Perspectives of New Music, Vol. 28, No. 2 (Summer, 1990), p. 6-50 DOI: https://doi.org/10.2307/833006
FERNEYHOUGH, Brian. Thinking once more. In: Univers paralleÌ€les: Essais et entretiens sur la musique [online]. GeneÌ€ve: EÌditions Contrechamps, 2018 (accessed on 12 dec. 2019). Available at: <http://books.openedition.org/contrechamps/2952>. ISBN: 9782940599608. DOI: 10.4000/books.contrechamps.2952 DOI: https://doi.org/10.4000/books.contrechamps.2952
FERRAZ, Silvio. Livro das sonoridades. Rio de Janeiro: 7 Letras, 2005.
GALLO DIAS, Helen Priscila. A influeÌ‚ncia da muÌsica eletroacuÌstica sobre obras para piano de György
Ligeti e a criação de estilemas pianiÌsticos. Tese de doutorado. São Paulo: UNESP, 2014. GUIGUE, Didier. EsteÌtica da Sonoridade. São Paulo: Editora Perspectiva, 2011.
HINDEMITH, Paul. The Craft of Musical Composition (vols. 1 and 2). Ann Arbor: University of Michigan, 1945.
KIEVMAN, Carson. "Ockeghem and Ligeti: The Music of Transcendence." PhD thesis. Princeton University, 2003
LIGETI, György. Atmosphères. Vienna: Universal Edition, 1963.
SCHOENBERG, Arnold. Fundamentos da composição musical. Transl.: Eduardo Seincman. São Paulo:
EdUSP, 1996.
SMALLEY, Denis. Spectro-morphology and structuring processes. In: EMMERSON, Simon (ed.). The
language of eletroacoustic music. Londres: The Macmillan Press, 1986, pp. 61-93.
TAMAGAWA, Kiyoshi. Echoes from the East: The Javanese Gamelan and Its Influence on the Music of
Claude Debussy. PhD thesis. Austin: University of Texas at Austin, 1988.
VITALE, Claudio. Bewegungsfarbe e cânone sobressaturado: Atmosphères de György Ligeti. Revista
VoÌrtex, Curitiba, v. 4, n. 2, 2016, p. 1-17.
Descargas
Publicado
Cómo citar
Número
Sección
Licencia
Derechos de autor 2021 Vortex Music Journal
Esta obra está bajo una licencia internacional Creative Commons Atribución 4.0.
Los autores conservan los derechos de autor y conceden a la revista el derecho de primera publicación, con el trabajo simultáneamente bajo la licencia Creative Commons Attribution Licence que permite compartir el trabajo con reconocimiento de autoría y publicación inicial en esta revista.
