O movimento corporal na preparação e na performance musical da obra "Sete peças para piano" de Amaral Vieira sob a perspectiva dos estudos coreológicos de Rudolf Laban
This dissertation presents an interface between music and body movement aimed at preparing for musical performance. Based on the observation that sensory experience can broaden the senses and perceptions, the research sought to investigate the possibilities of working with the body as the protago...
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| Formato: | Dissertação |
| Idioma: | pt_BR |
| Publicado em: |
Universidade Federal do Rio Grande do Norte
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| Endereço do item: | https://repositorio.ufrn.br/handle/123456789/55656 |
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| Resumo: | This dissertation presents an interface between music and body movement aimed at preparing
for musical performance. Based on the observation that sensory experience can broaden the
senses and perceptions, the research sought to investigate the possibilities of working with the
body as the protagonist in musical performance, providing self-knowledge about the
possibilities of mastering the body and space, and inserting them into musical
multidirectionality. Using Rudolf Laban's (1978) movement studies as a theoretical basis, more
specifically the movement factors present in choreology and the actions of effort, body
exploration from a Labanian perspective was applied to Sete Peças para Piano, Op. 169, by
Amaral Vieira, in an autoethnographic qualitative research study. The performer's reflections
on the process were of recognizing herself as an embodied and sensitive subject, the artistic
process provided transformations in the conception of the work as well as changes in musical
and sensory aspects, the development of active listening, body relaxation, clarity of musical
intentions and interpretative freedom. |
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