Indications of musical knowledge in the preliminary stylistic conceptions of graduate pianists: a quasi-experimental study

Authors

  • Samuel Henrique Cianbroni Universidade Federal do Rio Grande do Sul (UFRGS), Porto Alegre, RS
  • Regina Antunes Santos Universidade Federal do Rio Grande do Sul (UFRGS), Porto Alegre, RS

DOI:

https://doi.org/10.5965/2525530406012021e0023

Keywords:

conhecimento musical, estilo, prática musical, pianista, performance

Abstract

This article aims to map indications of musical knowledge in the musical conceptions of style demonstrated in the speeches of young pianists at the graduate level in the preparation of three imposed works from different historical periods. A quasi-experiment was carried out with three piano students at Master and PhD degrees in Music, in which the participants learned musical works from different periods (18th, 19th and 20th centuries) and composers (Haydn, Chopin and Bartók) in three practice sessions. Interviews and records of works by participants allowed collecting conceptions for performances. The results showed consensus in conceptions of composers and styles on what the participants had already previous experience of practice of the repertoire (Haydn, Chopin), but in Bartók consensus was few. Thus, the present investigation brought evidences that the relational references of previous modes of musical expression, explicit organization of understanding (pre-conceived), as well as reception/perception as an interpreter-listener seem to be consistent indications of interconnecting stylistic knowledge and advancing perspectives of musical knowledge of instrumentalists in training.

Downloads

Download data is not yet available.

Author Biographies

Samuel Henrique Cianbroni, Universidade Federal do Rio Grande do Sul (UFRGS), Porto Alegre, RS

Samuel Henrique da Silva Cianbroni é técnico instrumentista (piano) pela Escola Municipal de Artes Professora Jupyra Cunha Marcondes, bacharel em piano pela Universidade Estadual de Maringá e mestre e doutor em Música (Práticas Interpretativas) pela Universidade Federal do Rio Grande do Sul com estágio de pesquisa no Laboratório de Pedagogia do Piano da Universidade de Ottawa, no Canadá. Tem experiência no ensino do piano e teoria musical. Atualmente, integra como professor substituto o quadro de docentes do curso de Licenciatura em Música da Universidade Federal de Mato Grosso do Sul.

Regina Antunes Santos, Universidade Federal do Rio Grande do Sul (UFRGS), Porto Alegre, RS

Regina Antunes Teixeira dos Santos possui graduação em Música (habilitação em piano) pela Universidade Federal do Rio Grande do Sul, especialização em Interpretação pianística pelo Ueno Gakkuen (Japão), especialização em Harmonie-Analyse-Histoire de la Musique pela Conservatoire National de Region de Toulouse (França), mestrado em Education Musicale pela Université de Toulouse II - Le Mirail (França), e mestrado e doutorado em Música pela Universidade Federal do Rio Grande do Sul. Atualmente é professora adjunta da UFRGS nas disciplinas de Psicologia da Música e Teclado, além de orientar no programa de pós-graduação em Música da instituição. Tem experiência na área de Artes, com ênfase em Música, atuando principalmente nos temas: piano, conhecimento musical, repertório, formação superior, prática instrumental.

References

BAE, A; PARK, D; PARK, J. The network of western classical musicians. 2014 Studies in Computational Intelligence 549, pp. 13-24.

BARONI, M. Style et mutations stylistiques dans la tradition musicale européenne. In: J. J. Nattiez (Org.) Musiques. Une encyclopédie pour le XXI e siècle. V. 4 – Histoires des musiques européenes. Paris: Actes de Sud (pp. 53-70), 2005.

BARTÓK, Bela. Fifteen Hungarian Peasant Songs: Old Dance Tunes n. 7. Vienna: Universal Edition, 1920, p.60.

CARRASCOSO, J.L.A. Teoría del conocimiento. Madrid: Síntesis, 1999.

CHOPIN, Frédéric. Mazurken: Op. 33 n. 3. G. Henle Verlag, 1975. Pp. 64, 65.

CLARKE, Eric F. Generative principles in music performance. In: SLOBODA, J. A. (Ed.) Generative processes in music: The psychology of performance, improvisation, and composition. Oxford: Clarendon, p. 1-26, 1989.

CONE, Edward T. The pianist as critic. The practice of performance: Studies in music interpretation. Edited by John Rink. Cambridge University Press, 1995. Pp. 241-253.

COPLAND, Aaron. A Nova Música. Tradução: Lívio Dantas. Gráfica Record Editora. Rio de Janeiro, 1969.

DAHLHAUS, Carl. Nineteenth-Century Music. English translation by J, Bradford Robinson. University of California Press, 1989.

DODSON, Alan. Expressive timing in expanded phrases: an empirical study of recordings of three Chopin preludes. Royal Northern College of Music Vol. 4 2-29, 2011.

ELLIOTT, David J. Music Matters. Oxford University Press. New York, 1995.

ELLIOTT, David; SILVERMAN, Marissa. Music Matters: A Philosophy of Music Education. (2nd Ed). New York: Oxford University Press, 2015.

ELLISON, S.; BARWICK, V.; FARRANT, T. Designing Effective Experiments. In: Practical Statistics for the analytical Scientist: A Bench Guide. 2 ed. LGC Limited, 2009. Cap. 8, p. 131-133.

GROVE MUSIC ONLINE. Oxford Music Online. Disponível em http://www.oxfordmusiconline.com/. Acesso em 08/10/2018.

HARNONCOURT, Nikolaus. O Discurso dos Sons. Caminhos para uma nova compreensão musical. Tradução: Marcelo Fagerlande. Jorge Zahar Editor. Rio de Janeiro, 1988.

HAYDN, Joseph. Complete Piano Sonatas, Volume I: Sonata Hob XVI n. 10, mov2. G. Henle Verlag, 1970, p. 86.

LÁSZLÓ, Ferenc. Béla Bartók and the Ideal of Europe – Lecture held at the Hungarian Institute in Bucharest on May the 3rd 2004 – Copyright of Central University Library “Lucian Blaga” in Cluj-Napoca. Pp. 46-51.

LARUE, Jan. Análisis del Estilo Musical. Pautas sobre la contribuición a la música del sonido, la armonía, el ritmo y el crecimiento formal. Editorial Labor S.A. Barcelona, 1989.

MEYER, Leonard B. Style and Music. Theory, History and Ideology. Originally published 1989 by the University of Pennsylvania Press in the series Studies in the Criticism and Theory of Music. The University of Chicago Press, 1996.

MONTEIRO, Heidi. Perspectivas de pianistas sobre expressividade em performance musical como intérpretes e ouvintes. Tese de Doutorado. Universidade Federal do Rio Grande do Sul. Instituto de Artes. Programa de Pós-Graduação em Música. Porto Alegre, 2019.

NISSMAN, Barbara. Bartók and the Piano. A Performer’s View. The Scarecrow Press, Inc. Lanham, Maryland, and Oxford 2002.

RITTERMAN, Janet. Piano music and the public concert 1800-1850. In The Cambridge Companion to Chopin. Edited by Jim Samsom. Cambridge University Press, 1992.

ROSEN, Charles. El Estilo Clásico. Haydn, Mozart, Beethoven. Versión española de Elena Giménez Moreno. Revisión de José María Martín Triana. Alianza Editorial, Madrid, 2003.

SONG, Moo Kyoung; KIM, You Jim. Speaking of your own repertoire: an investigation of music performance during practice. British Journal of Music Education (2020), 37, 260–269. Cambridge University Press.

SLOBODA, John Anthony. The music mind: the cognitive psychology of music. Oxford: Oxford University Press, 2000.

SWANWICK, Keith. Musical knowledge: intuition, and music education. London: Routledge, 1994.

SWANWICK, Keith. Ensinando Música Musicalmente. Tradução de Alda Oliveira e Cristina Tourinho. São Paulo. Moderna, 2003.

TIZÓN, Manuel; GÓMEZ-MARTÍN, Francisco. La influencia del estilo musical em la emoción percibida. Revista Electrónica Complutense de Investigación en Educación Musical. 17, 2020: 85-108.

WEIß, Christof; MAUCH Matthias; DIXON Simon; MÜLLER Meinard. Investigating Style Evolution of Western Classical Music: A Computational Approach. Musicae Scientiae 23, no. 4 (December 2019): 486–507.

Artigos Temática Livre - Publicação Contínua

Downloads

Published

2021-10-21

How to Cite

CIANBRONI, Samuel Henrique; SANTOS, Regina Antunes. Indications of musical knowledge in the preliminary stylistic conceptions of graduate pianists: a quasi-experimental study. Orfeu, Florianópolis, v. 6, n. 1, 2021. DOI: 10.5965/2525530406012021e0023. Disponível em: https://revistas.udesc.br/index.php/orfeu/article/view/20155. Acesso em: 18 may. 2024.

Issue

Vol. 6 No. 1 (2021): Artigos Temática Livre - Publicação Contínua

Section

Articles

License

Copyright (c) 2021 Regina Antunes Santos, Samuel Henrique Ciambroni

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

Authors who submit their manuscripts to be published in this journal agree to the following terms:

1.    Authors retain the copyright and grant to the journal the right of first publication, whilst simultaneously permitting their work to be licensed under the Creative Commons License Attribution, which allows the sharing of work with recognition of the authorship and initial publication in this journal.

2.    Contributions in this journal are open access; this means they are based in free use, and non-commercial applications.