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Abstract(s)
A voz é um instrumento vivo, permeável à condição física e psicológica do seu hospedeiro, naturalmente ligada às emoções, à vivência e à criatividade. Para os cantores, a música é um dado adquirido através da audição e da imaginação, onde essa relação corpo/mente deve ser construída tendo em conta a especificidade do instrumento e uma imensa vastidão de possibilidades para a expressão. A educação musical convencional tende a subvalorizar esses comportamentos improvisativos espontâneos e a substituí-los por outros (ainda que temporariamente), que seguem uma lógica imitativa e serial. Valoriza-se a inteligência formal em detrimento da exploração sensorial, domestica-se o instinto e a criatividade.
Tornando-se no seu próprio case-study, a autora realiza um estudo do comportamento do cantor no contexto da música improvisada e o processo de construção de uma consciência musical que vise a competência harmónica e o sucesso na improvisação, explorando também um lado criativo e de unicidade.
Através das experiências a que se submeteu e da análise dos testemunhos de cantores/improvisadores com carreiras reconhecidas que angariou, a autora encontra fundamentos para propôr um novo modo de actuação, no ensino formal, que fomente uma atitude criativa e inteligente com a voz.
The voice is a living instrument, permeable to all physical and psychological conditions of its host, naturally linked to emotions, experiences and creativity. For vocalists, music is taken for granted by hearing and imagining, and the body/mind relationship in this instrument must be established regarding its specificities and considering a large expanse of possibilities for expression. Conventional musical education tends to undervalue these spontaneous improvisational behaviors and to replace them (even if temporarily) with others that follow a serial and imitative logic. It also values formal intelligence in detriment of sensorial exploration, it wants to tame instinct and creativity. Becoming her own “case study”, the author studies the vocalist’s behavior in the context of improvised music and the process of building musical consciousness that seeks improving competence and success in harmonic improvisation, without disregarding exploration and creative behaviour towards uniqueness. Through these experiences the author underwent, and analysing some solicited testimonials from singers/improvisers with recognized careers, the author thus finds ground for proposing a new way of performing, in Formal Education, that fosters a creative and intelligent use of the voice.
The voice is a living instrument, permeable to all physical and psychological conditions of its host, naturally linked to emotions, experiences and creativity. For vocalists, music is taken for granted by hearing and imagining, and the body/mind relationship in this instrument must be established regarding its specificities and considering a large expanse of possibilities for expression. Conventional musical education tends to undervalue these spontaneous improvisational behaviors and to replace them (even if temporarily) with others that follow a serial and imitative logic. It also values formal intelligence in detriment of sensorial exploration, it wants to tame instinct and creativity. Becoming her own “case study”, the author studies the vocalist’s behavior in the context of improvised music and the process of building musical consciousness that seeks improving competence and success in harmonic improvisation, without disregarding exploration and creative behaviour towards uniqueness. Through these experiences the author underwent, and analysing some solicited testimonials from singers/improvisers with recognized careers, the author thus finds ground for proposing a new way of performing, in Formal Education, that fosters a creative and intelligent use of the voice.
Description
Keywords
Voz Jazz vocal Música improvisada Improvisação vocal Competências musicais do cantor Ensino formal do jazz Técnica vocal Técnica vocal prolongada Performance Criatividade Experimentação Unicidade Novo modo de actuação Voice Vocal jazz Improvised music Vocal improvisation Vocalists’ musical skills Jazz education Vocal technique Extended vocal technique Creativity Experimentation Uniqueness A new approach