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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| Μορφή: | Dissertação |
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Universidade Federal do Rio Grande do Norte
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ri-123456789-45138 |
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dspace |
| institution |
Repositório Institucional |
| collection |
RI - UFRN |
| language |
pt_BR |
| topic |
Criatividade musical Improvisação Vivências Psicologia histórico-cultural |
| spellingShingle |
Criatividade musical Improvisação Vivências Psicologia histórico-cultural Lima, Sarah Camilla Ferreira de Oliveira Improvisando na arte: vivências de músicos populares na performance criativa |
| description |
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. |
| author2 |
Pires, Izabel Augusta Hazin |
| author_facet |
Pires, Izabel Augusta Hazin Lima, Sarah Camilla Ferreira de Oliveira |
| format |
masterThesis |
| author |
Lima, Sarah Camilla Ferreira de Oliveira |
| author_sort |
Lima, Sarah Camilla Ferreira de Oliveira |
| title |
Improvisando na arte: vivências de músicos populares na performance criativa |
| title_short |
Improvisando na arte: vivências de músicos populares na performance criativa |
| title_full |
Improvisando na arte: vivências de músicos populares na performance criativa |
| title_fullStr |
Improvisando na arte: vivências de músicos populares na performance criativa |
| title_full_unstemmed |
Improvisando na arte: vivências de músicos populares na performance criativa |
| title_sort |
improvisando na arte: vivências de músicos populares na performance criativa |
| publisher |
Universidade Federal do Rio Grande do Norte |
| publishDate |
2021 |
| url |
https://repositorio.ufrn.br/handle/123456789/45138 |
| work_keys_str_mv |
AT limasarahcamillaferreiradeoliveira improvisandonaartevivenciasdemusicospopularesnaperformancecriativa |
| _version_ |
1773963678514675712 |
| spelling |
ri-123456789-451382022-05-02T15:56:22Z Improvisando na arte: vivências de músicos populares na performance criativa Lima, Sarah Camilla Ferreira de Oliveira Pires, Izabel Augusta Hazin http://lattes.cnpq.br/0970980480320419 http://lattes.cnpq.br/5496201609189471 Eslava, Juanita Marques, Priscila Criatividade musical Improvisação Vivências Psicologia histórico-cultural 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. Conselho Nacional de Desenvolvimento Científico e Tecnológico - CNPq Na Psicologia Histórico-cultural a música é entendida como uma atividade humana produzida em contexto social, à medida que o artista vivencia e se apropria dos elementos musicais – já postos cultural e historicamente –, também passa a poder produzir ou reproduzir sua arte. Conduzindo essas reflexões para a criatividade musical, especialmente a improvisação, deparamo-nos com uma criação em movimento, durante a performance, mas que é resultado do conjunto de experiências do artista. Desse modo, diferentes vivências musicais levam a diferentes modos de elaboração e compreensão da improvisação. O objetivo principal desta dissertação é investigar as vivências, concepções e estratégias de performance criativa em músicos acadêmicos e autodidatas. Participaram 4 musicistas, – 2 acadêmicos e 2 autodidatas – com performances notadamente criativas e improvisadas. A coleta ocorreu em 2 fases por vídeoconferência: (1) um questionário socioeconômico e de práticas musicais e (2) uma entrevista semiestruturada individual sobre a trajetória musical e concepções de performance criativa. A análise dos dados baseou-se nas concepções bakhtinianas de discurso dialógico. A primeira etapa de análise teve como foco as informações do questionário que possibilitaram a caracterização dos perfis da atividade de cada participantes. A análise da entrevista possibilitou a identificação e agrupamento de unidades de significado e categorização. Buscou-se relacionar as partes, os núcleos de análise encontrados, e os discursos dos participantes, tendo como foco a análise da relação dialética. Como resultados encontramos discursos categorizados por formação. Na maioria das respostas, os músicos acadêmicos ressaltavam a importância de um conhecimento explícito, e os autodidatas a importância da estilização e da tentativa. Todos os participantes, porém, concordaram sobre a centralidade das vivências de performances criativas para a construção de um improvisador. Tais respostas corroboram o que foi trazido por Vigotski de que a criatividade é constituída pelo amálgama de vivências dos indivíduos que são refratados subjetivamente e geram um produto cultural. 2021-12-02T19:33:03Z 2021-12-02T19:33:03Z 2021-09-16 masterThesis LIMA, Sarah Camilla Ferreira de Oliveira. Improvisando na arte: vivências de músicos populares na performance criativa. 2021. 106f. Dissertação (Mestrado em Psicologia) - Centro de Ciências Humanas, Letras e Artes, Universidade Federal do Rio Grande do Norte, Natal, 2021. https://repositorio.ufrn.br/handle/123456789/45138 pt_BR Acesso Aberto application/pdf Universidade Federal do Rio Grande do Norte Brasil UFRN PROGRAMA DE PÓS-GRADUAÇÃO EM PSICOLOGIA |