Aspectos técnico-interpretativos da preparação de um recital com a utilização dos trombones baixo, tenor e alto
The present work investigates the technical-interpretive aspects of the preparation of a recital through the practice of doubling on the bass, tenor and alto trombones. The aim is to seek to understand the study strategies that allow the musician to perform a recital, with works by Brazilian compose...
Na minha lista:
| Autor principal: | |
|---|---|
| Outros Autores: | |
| Formato: | Dissertação |
| Idioma: | pt_BR |
| Publicado em: |
Universidade Federal do Rio Grande do Norte
|
| Assuntos: | |
| Endereço do item: | https://repositorio.ufrn.br/handle/123456789/43755 |
| Tags: |
Adicionar Tag
Sem tags, seja o primeiro a adicionar uma tag!
|
| Resumo: | The present work investigates the technical-interpretive aspects of the preparation of a recital
through the practice of doubling on the bass, tenor and alto trombones. The aim is to seek to
understand the study strategies that allow the musician to perform a recital, with works by
Brazilian composers of the 20th and 21st century in the three trombones, from the preparation
and execution of the works Criação nº 2 (bass trombone), Três estudos para trombone tenor, Música para trombone nº 4 (alto trombone) and Música para trombones e Percussão (bass, tenor and alto trombones). The text presents the organology of the three trombones as well as
a brief historical contextualization (FONSECA, 2008; GUION, 2010; HERBERT, 1997). Then we bring considerations about the daily routine of studies in the bass, tenor and alto
trombones (LEITE, 2015; ROCHA, 2016; SANTOS, 2017) and the possibilities of studying
the instrument using the Social Cognitive Theory idealized by Albert Bandura (BANDURA, 1978 apud CAVALCANTI, 2009) and Deliberate Practice (ERICSSON et al., 1993). Right
after we present a contextualization about the researches about trombone in Brazil and works
that refer to the practice of doubling in a direct or indirect way, as well as we discuss this
practice through the experience of interviewed trombonists (PIERCE, 2002; REIS, 2016). Finally, we bring the experience of preparing the recital through the proposition of strategies
that served to resolve sections that presented technical difficulties in the works chosen for the recital. |
|---|