Improvisando na arte: vivências de músicos populares na performance criativa
In Historical-cultural Psychology, music is understood as a human activity produced in a social context, as the artist experiences and appropriates of musical elements – culturally and historically established –, he also starts to be able to produce or reproduce his art. Leading these reflections to...
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| Materialtyp: | Dissertação |
| Språk: | pt_BR |
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Universidade Federal do Rio Grande do Norte
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| Länkar: | https://repositorio.ufrn.br/handle/123456789/45138 |
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| Sammanfattning: | In Historical-cultural Psychology, music is understood as a human activity produced in a social
context, as the artist experiences and appropriates of musical elements – culturally and
historically established –, he also starts to be able to produce or reproduce his art. Leading these
reflections to musical creativity, especially improvisation, we see that it is a creation in motion,
made during the performance, but which is the result of the artist's set of experiences. Therefore,
different musical experiences lead to different ways of elaborating and understanding
improvisation. The main objective of this dissertation is to investigate the experiences,
conceptions and strategies of creative performance in academic and self-taught musicians. 4
musicians participated - 2 academics and 2 self-taught - they were recognized as creative and
improvised performance artists. The data collect took place in 2 phases by videoconference: (1)
a socioeconomic and musical practices questionnaire and (2) an individual semi-structured
interview about the musical trajectory and conceptions of creative performance. Data analysis
was based on Bakhtinian conceptions of dialogic discourse. The first stage of analysis focused
on information from the questionnaire that enabled the characterization of the activity profiles
of each participant. The analysis of the interview allowed the identification and grouping of
units of meaning and categorization. An attempt was made to relate the parts, the nuclei of
analysis found, and the discourses of the participants, focusing on the analysis of the dialectical
relationship. As a result, we found speeches categorized by training. In the vast majority of
responses, academic musicians highlighted the importance of formal knowledge. The selftaught group talk more about the importance of stylization and constant tries. All participants,
however, agreed that experiences played an important role in create a good improviser. Such
answers corroborate what was brought by Vigotski that creativity is made by mixed experiences
that are subjectively refracted and generate a cultural product. |
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