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Authors
Advisor(s)
Abstract(s)
Consciente do discurso diverso e do enorme potencial criativo da música
para clarinete e eletrónica, aliada à vasta experiência e contacto direto acumulado
com obras de música mista, o objetivo deste projeto de investigação em estudos de
performance musical no âmbito da “Música Portuguesa para Clarinete e Eletrónica -
Processos interativos na criação, interpretação e performance” partiu da necessidade
da reflexão sobre a minha atividade como intérprete/músico.
A música mista estabelece um novo paradigma da criação musical e da
interpretação, modificando a natureza das relações e interações entre criadores e
performers e destes com o material musical e com a performance. Tendo como ponto
de partida a música portuguesa para clarinete e eletrónica, este estudo contém uma
reflexão sobre os desafios que se colocam a compositores e intérpretes de música
mista, nas diversas fases da criação musical.
A metodologia pressupõe a análise dos processos interativos na criação,
interpretação e performance, consubstanciada em seis obras musicais (e as suas
gravações) que constituem o corpus analítico deste percurso, de autoria de Cândido
Lima, Virgílio Melo, Ricardo Ribeiro, Carlos Caires, João Pedro Oliveira e Miguel
Azguime, através de propostas de realização performativa instrumental para clarinete
e electrónica e uma nova proposta de notação das dedilhações para o clarinete. Foi
ainda incluída uma análise de índole qualitativa aos resultados de técnicas de
inquérito a questionários a um focus group (a estes seis compositores e a intérpretes
de música mista).
O contributo deste percurso analítico demonstra que os processos da
composição, interpretação e a performance estão interligados e são interdependentes
em todo o processo de criação musical. Assim, a performance é potenciada quanto
maior for o grau de compromisso e interação entre compositores e intérpretes, no
sentido de aproximar a ideia musical, que precede a criação, da sua realização
prática.
With a strong understanding and awareness of the diverse discourse and the enormous creative potential of music for clarinet and electronics, alongside a vast accumulation of experience with works of mixed music, the objective of this research project in musical performance about “Portuguese Music for Clarinet and Electronics – interactive processes in the creation, interpretation and performance” grew out of the need to reflect about my work as a performer/musician. Mixed music sets a new paradigm of music creation and interpretation, changing the nature of the relationships and interactions between creators and performers and between the musical material and the performance. Beginning with the Portuguese music for clarinet and electronics, this work reflects on the challenges faced by composers and performers of mixed music in different phases of music creation. Employing qualitative methods of the interactive processes in the creation, interpretation, and performance, this analysis is based on six musical works (and their respective recordings) that constitute the analytical corpus of this project, composed by Cândido Lima, Virgílio Melo, Ricardo Ribeiro, Carlos Caires, João Pedro Oliveira and Miguel Azguime, through performative instrumental proposals for clarinet and electronics and a proposed innovative fingering notation for clarinet. It also includes a qualitative analysis of the results of a questionnaire sent to a focus group (the aforementioned six composers and performers of mixed music). The contribution of this research demonstrates that the composition, interpretation and performance processes are interconnected and interdependent in the whole process of music creation. Thus, performance is enhanced in direct relation with the commitment and interaction between composers and performers, allowing a greater approximation of the musical idea, which precedes its creation, to its practical realization.
With a strong understanding and awareness of the diverse discourse and the enormous creative potential of music for clarinet and electronics, alongside a vast accumulation of experience with works of mixed music, the objective of this research project in musical performance about “Portuguese Music for Clarinet and Electronics – interactive processes in the creation, interpretation and performance” grew out of the need to reflect about my work as a performer/musician. Mixed music sets a new paradigm of music creation and interpretation, changing the nature of the relationships and interactions between creators and performers and between the musical material and the performance. Beginning with the Portuguese music for clarinet and electronics, this work reflects on the challenges faced by composers and performers of mixed music in different phases of music creation. Employing qualitative methods of the interactive processes in the creation, interpretation, and performance, this analysis is based on six musical works (and their respective recordings) that constitute the analytical corpus of this project, composed by Cândido Lima, Virgílio Melo, Ricardo Ribeiro, Carlos Caires, João Pedro Oliveira and Miguel Azguime, through performative instrumental proposals for clarinet and electronics and a proposed innovative fingering notation for clarinet. It also includes a qualitative analysis of the results of a questionnaire sent to a focus group (the aforementioned six composers and performers of mixed music). The contribution of this research demonstrates that the composition, interpretation and performance processes are interconnected and interdependent in the whole process of music creation. Thus, performance is enhanced in direct relation with the commitment and interaction between composers and performers, allowing a greater approximation of the musical idea, which precedes its creation, to its practical realization.