Collaboration Between Non-Guitarist Composers and Guitarists: Analysing Collaborative Modalities Applied to the Creative Process

Márlou Peruzzolo Vieira

Resumo


This paper discusses composer and performer collaboration, specifically in cases involving guitar repertoire by composers who do not play the instrument. The research was divided into two phases: an exploratory stage, which consisted in interviews with non-guitarist composers and guitarists and a case study, which presents my own collaborative experience with the composer Samuel Peruzzolo-Vieira, focusing on the different modalities of collaboration during the composition process of three pieces for solo guitar written between 2015 and 2016. The aim is to categorise and characterise the relevant stages of collaboration, demonstrating and discussing the collaborative modalities, the performer’s suggestions and the composer’s decisions. All stages of the collaboration were documented on video, which functioned both as a register of the process and as a multimedia support that helped the composer during the composition. Results show the different approaches explored in each collaboration modality while discussing the creative work during the entire process.


Palavras-chave


Composer-performer collaboration; non-guitarist composer; solo guitar.

Texto completo:

PDF (English)

Referências


ADLER, Samuel. The Study of Orchestration. New York: W. W. Norton, 2002.

BARRET, Margaret S. et al. The Scattering of Light: Shared Insights into the Collaborative and Cooperative Processes that Underpin the Development and Performance of a Commissioned Work. In: BARRET, M. S. (Ed.). Collaborative Creative Thought and Practice in Music. Surrey: Ashgate, 2014. p. 17-31.

BERLIOZ, Hector. Treatise on Instrumentation. Translated by T. Front. New York: Edwin F. Kalmus, 1948 [1844].

BLATTER, Alfred. Instrumentation and Orchestration. 2nd ed. Boston: Schirmer, 1997.

BORÉM, Fausto. Lucípherez de Eduardo Bértola: a colaboração compositor-performer e a escrita idiomática para contrabaixo. Opus, Revista da Associação Nacional de Pesquisa e Pós-Graduação em Música, Rio de Janeiro, v. 5, n. 5, p. 48-75, ago. 1998.

BREAM, Julian. How to Write for the Guitar. The Score & I. M. A. Magazine, v. 19, p. 19-26, Mar. 1957.

CARVALHO, Sara; MARINHO, Helena. Ritual and Transgression: A Case Study in New Music. E-Cadernos do Centro de Estudos Sociais da Universidade de Coimbra, v. 8, p. 108-120, 2010.

COOK, Nicholas. Between Process and Product: Music and/as Performance. Music Theory Online, v. 7, n. 2, 2001. http://www.mtosmt.org/issues/mto.01.7.2/mto.01.7.2.cook.html. Accessed 11th Feb., 2016.

CORREA, James. Interview. 25th Apr. 2014.

DODGSON, Stephen. Writing for the Guitar: Comments of a Non-Guitarist Composer. In: QUINE, H. Guitar Technique: Intermediate to Advanced. New York: Oxford University Press, 1990. p. 88-99.

DOMENICI, Catarina. Beyond Notation: The Oral Memory of Confini. In: PERFORMA - ENCONTROS DE INVESTIGAÇÃO EM PERFORMANCE, 3., 2011, Universidade de Aveiro. Actas... Aveiro, 2011. p. 114.

______. O intérprete em colaboração com o compositor: uma pesquisa autoetnográfica. In: CONGRESSO DA ANPPOM, 20., 2010, Universidade do Estado de Santa Catarina. Anais... Florianópolis, 2010. p. 1142- 1147.

FOSS, Lukas. The Changing Composer-Performer Relationship: A Monologue and a Dialogue. Perspectives of New Music, v. 1, n. 2, p. 45-53, Spring 1963.

GENTIL-NUNES, Pauxy. Interview. 30th Sept. 2015.

GILARDINO, Angelo. La notazione. In: CHIESA, R. (Org.). La chitarra. Torino: E.D.T Edizione di Torino, 2010. p. 99-166.

______. La grammatica della chitarra: manuale ad uso dei compositori non chitarristi. Ancona: Bèrben, 1994-1999. 3 v.

GIORGI, Amedeo. Sobre o método fenomenológico utilizado como modo de pesquisa qualitativa nas ciências humanas: teoria, prática e avaliação. In SALLUM Jr, B. (Org.). A pesquisa qualitativa: enfoques epistemológicos e metodológicos. Translated by A. C. Nasser. Petrópolis: Vozes, 2008. p. 386-409.

GODFREY, Jonathan. Principles of Idiomatic Guitar Writing. Ph.D. Thesis, Indiana University, Bloomington, 2013.

GOEHR, Lydia. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford: Clarendon Press, 1992.

GUERRA, Isabel Carvalho. Pesquisa qualitativa e análise de conteúdo. Cascais: Principia, 2006.

GYGER, Elliott. No Stone Unturned: Mapping Composer-Performer Collaboration. In: BARRET, M. S. (Ed.). Collaborative Creative Thought and Practice in Music. Surrey: Ashgate, 2014. p. 33-47.

ISHISAKI, Bruno; MACHADO, Marco. A colaboração entre compositor e intérprete no processo criativo de Arcontes. Revista do Conservatório de Música UFPEL, v. 6, p. 71-102, dez. 2013.

IVANOVIC, Dejan. Colaboração entre compositor e intérprete na criação de obras para guitarra: estudo do processo editorial no repertório de Inglaterra, Croácia e Portugal. Ph.D. Thesis, Universidade de Évora, Évora, 2015.

JOHN-STEINER, Vera. Creative Collaboration. New York: Oxford University Press, 2000.

JOSEL, Seth; TSAO, Ming. The Techniques of Guitar Playing. Kassel: Bärenreiter, 2014.

KACHIAN, Christopher. Composer's Desk Reference for the Classic Guitar. Pacific: Mel Bay Publications, 2010.

KERNIS, Aaron Jay. Aaron Jay Kernis on the Concerto for Violin, Guitar and Orchestra. In: TOSONE, J. Classical Guitarist: Conversations. Jefferson, North Carolina: McFarland & Company, 2000. p. 22-33.

KRIEGER, Edino. Interview. 25th July 2014.

LUNN, Robert Allan. Extended Techniques for the Classical Guitar: A Guide for Composers. Ph.D. Thesis, Ohio State University, Columbus, 2010.

MARINHO, Helena; CARVALHO, Sara. From Fortepiano to Modern Piano: A Case Study of a Performer/Composer Collaboration. In: MARSHMAN, A. (Org.) Performers’ Voices Across Centuries, Cultures, and Disciplines. London: Imperial College Press, 2012. p. 177-189.

MIRANDA, Ronaldo. Interview. 14th May 2014.

MORAIS, Augusto de. A colaboração intérprete-compositor na elaboração da obra “uma lágrima” de Arthur Rinaldi. Master’s Thesis. Universidade Federal de Goiás, Goiânia, 2013.

ÖSTERSJÖ, Stefan. Shut up ’n’ Play: Negotiating the Musical Work. Ph.D. Thesis. Lund University, Malmö, 2008.

QUIVY, Raymond; CAMPENHOUDT, Luc Van. Manual de investigação em ciências sociais. Lisboa: Gradiva, 2008.

RAUTA, Marcelo. Interview. 26th Sept. 2015.

ROE, Paul. A Phenomenology of Collaboration in Contemporary Performance and Composition. PhD Thesis. University of York, York, 2007.

ROSA, Alexandre; TOFFOLO, Rael. O resto no copo: colaboração compositor-intérprete. In: CONGRESSO DA ANPPOM, 21., 2011, Universidade Federal de Uberlândia. Anais... Uberlândia, 2011. p. 1139-1144.

SCHNEIDER, John. The Contemporary Guitar. London: Rowman & Littlefield, 2015.

SCHWARZ, Boris. Joseph Joachim and the Genesis of Brahms’s Violin Concerto. The Musical Quarterly, v. 69, n. 4, p. 503-526, 1983.

SILVA, Catarina Percinio da. Sete obras brasileiras inéditas para percussão: concepção, colaboração e processo de criação de solos para instrumentos marginalizados. Master’s Thesis. Universidade Federal de Goiás, Goiânia, 2014.

SMALLEY, Roger. Some Aspects of the Changing Relationship Between Composer and Performer in Contemporary Music. Royal Musical Association, v. 96, p. 73-84, 1970.

SORRENTINO, Sergio. I compositori non chitarristi in Italia. In: BONI, S. (Org.). Romolo Ferrari e la chitarra in Italia nella prima metà del Novecento. Modena: Mucchi Editore, 2009. p. 145-165.

SOUZA, Valdir Caires de; CURY, Fábio; RAMOS, Marco Antonio da Silva. Uma abordagem sobre as técnicas estendidas utilizadas no fagote e a importância da cooperação do compositor e do intérprete para o aperfeiçoamento do repertório. Opus, Porto Alegre, v. 19, n. 2, p. 135-146, 2013.

TACUCHIAN, Ricardo. Interview. 8th Aug. 2014.

ULLOA, Mario. Recursos técnicos, sonoridades e grafias do violão para compositores não violonistas. Ph.D. Thesis. Universidade Federal da Bahia, Salvador, 2001.

VIANA, Andersen. A escrita para violão por compositores e arranjadores não violonistas. Artigos Meloteca, 2009. http://www.meloteca.com.br. Accessed 14th June, 2011.

VIEIRA, Márlou Peruzzolo. Composer and Performer in Collaboration: Interactive Processes Involving Non-Guitarists Composers and Guitarists. In: CONFERENCE OF THE EUROPEAN SOCIETY FOR THE COGNITIVE SCIENCES OF MUSIC (ESCOM), 9., 2015, Royal Northern College of Music. Proceedings... Manchester, 2015. p. 816-825.

WARREN, Carol. Qualitative Interviewing. In: GUBRIUM, J.; HOLSTEIN, J. (Eds.), Handbook of Interview Research: Context & Method. Thousand Oaks: Sage Publications, 2001. p. 83-101.

WIESE, Bartholomeu. Interview. 20th Mar. 2014.

WOLFF, Daniel. Interview. 13th Dec. 2013.

ZANON, Fabio. O violão espanhol no século XX: Moreno-Torroba, de Falla, Llobet [Radio broadcast]. São Paulo: CulturaFM, 2006. http://vcfz.blogspot.pt/2006/01/2-moreno-torroba-de-falla-turina-pujol.




DOI: http://dx.doi.org/10.20504/opus2016b2218

Apontamentos

  • Não há apontamentos.




Direitos autorais 2016 Márlou Peruzzolo Vieira

Licença Creative Commons
Esta obra está licenciada sob uma licença Creative Commons Atribuição 4.0 Internacional.

 
OPUS - Revista Eletrônica da Associação Nacional de Pesquisa e Pós-graduação em Música (ANPPOM)
ISSN 0103-7412 (versão impressa, 1989-2008), ISSN 1517-7017 (versão online, 2009- )