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O acordeão na música de concerto no Brasil : criação de repertório a partir de práticas colaborativas entre intérprete-compositor
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Abstract(s)
A presente investigação incidiu sobre o acordeão de concerto no contexto brasileiro, e teve como objetivo geral contribuir para a criação e disseminação de repertório para o instrumento através de práticas colaborativas entre intérprete-compositor. Os objetivos específicos foram: verificar a representatividade da produção de obras para o acordeão de concerto no contexto brasileiro; identificar os motivos associados ao uso/desuso do instrumento por parte de compositores no Brasil; verificar particularidades e a pertinência de práticas colaborativas no âmbito da criação de repertório para o instrumento; e promover o instrumento e a disseminação de repertório original associado ao contexto em causa. Os processos metodológicos incluíram: [1] Pesquisa documental (e) musicológica; [2] Etnografia; [3] Autoetnografia colaborativa e [4] Experimentação e colaboração entre intérprete-compositor. Neste âmbito, foram realizadas entrevistas com 12 compositores/as brasileiros/as de forma a obter dados consistentes referentes ao acordeão, trabalhos colaborativos (benefícios e dificuldades atreladas a este tipo de processo), e iniciativas de disseminação do acordeão de concerto no contexto em causa. Os resultados demonstraram que o acordeão de concerto no Brasil requer ações integradas de circulação, ensino e criação de repertório para o fomento e exploração dos seus recursos. Neste sentido, o trabalho de colaboração realizado com os compositores Andersen Viana, Danilo Guanais e Ticiano Rocha resultou na criação de 5 obras inéditas para o instrumento.
Abstract : This research focused on the concert accordion in the Brazilian context, and its general objective was to contribute to the creation and dissemination of repertoire for the instrument through collaborative practices between performer-composer. Specific objectives were: to verify the representativeness of works for concert accordion in the Brazilian context; to identify reasons associated with the use/disuse of the instrument by composers in Brazil; to verify particularities and the pertinence of collaborative practices in the context of creating repertoire for the instrument; and to promote the instrument and the dissemination of associated original repertoire in the specific involved context. Methodological processes included: [1] Documentary (and) musicological research; [2] Ethnography; [3] Collaborative autoethnography and [4] Experimentation and collaboration between performer-composer. Within this scope, interviews were carried out with 12 Brazilian composers in order to obtain consistent data regarding the accordion, collaborative work (benefits and difficulties linked to this type of process), and initiatives for dissemination of the concert accordion in the specific context. Results showed that the concert accordion in Brazil requires integrated actions of circulation, teaching and creation of repertoire for the promotion and exploitation of its resources. In this sense, the collaborative work carried out with the composers Andersen Viana, Danilo Guanais and Ticiano Rocha resulted in the creation of 5 new unpublished works for the instrument.
Abstract : This research focused on the concert accordion in the Brazilian context, and its general objective was to contribute to the creation and dissemination of repertoire for the instrument through collaborative practices between performer-composer. Specific objectives were: to verify the representativeness of works for concert accordion in the Brazilian context; to identify reasons associated with the use/disuse of the instrument by composers in Brazil; to verify particularities and the pertinence of collaborative practices in the context of creating repertoire for the instrument; and to promote the instrument and the dissemination of associated original repertoire in the specific involved context. Methodological processes included: [1] Documentary (and) musicological research; [2] Ethnography; [3] Collaborative autoethnography and [4] Experimentation and collaboration between performer-composer. Within this scope, interviews were carried out with 12 Brazilian composers in order to obtain consistent data regarding the accordion, collaborative work (benefits and difficulties linked to this type of process), and initiatives for dissemination of the concert accordion in the specific context. Results showed that the concert accordion in Brazil requires integrated actions of circulation, teaching and creation of repertoire for the promotion and exploitation of its resources. In this sense, the collaborative work carried out with the composers Andersen Viana, Danilo Guanais and Ticiano Rocha resulted in the creation of 5 new unpublished works for the instrument.
Description
Dissertação apresentada à Escola Superior de Artes Aplicadas do Instituto Politécnico de Castelo Branco para obtenção do grau de Mestre em Ensino de Música - Instrumento e Música de Conjunto.
Keywords
Criação artística Acordeão Colaboração Contexto brasileiro Artistic creation Accordion Collaboration Brazilian context