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Abstract(s)
Na presente dissertação foi realizado um estudo comparativo entre músicos portugueses com uma carreira de excelência, sendo o objetivo principal analisar as motivações que os levam, em recitais a solo, a tocar de memória ou com partitura.
Para isso, foram selecionados oito intérpretes, de seis instrumentos diferentes – piano, violoncelo, violino, tuba, clarinete e canto –, com base nos critérios de excelência definidos por Talbot-Honeck & Orlick (1998). A recolha de dados foi efetuada através de uma entrevista estruturada, desenhada para o efeito, feita a cada um dos músicos selecionados.
Os resultados obtidos apontam para que o hábito de tocar de memória esteja mais presente nos instrumentos com maior tradição de ensino formal, como o violino, violoncelo, piano e canto; que o tempo necessário, ou a falta dele, para a preparação de uma performance pode condicionar/dificultar o processo de memorização; cantar ou tocar de memória possibilita uma maior espontaneidade e liberdade durante a execução, para os cantores, para o tubista e para a violoncelista; que os cantores preferem cantar de memória pelo contacto visual que conseguem estabelecer com o público; e, que cada músico deve ter a liberdade de escolher se prefere tocar/cantar de memória ou com partitura.
In this dissertation, a comparative study was conducted with portuguese musicians with a career of excellence in order to analyse the motivations that lead them, in solo recitals, to perform from memory or with score. To achieve this goal, eight performers were selected, representing six different instruments - piano, cello, violin, tuba, clarinet, and voice - based on the criteria of excellence defined by Talbot-Honeck & Orlick (1998). The data collection was carried out through a structured interview specifically designed for this purpose, conducted with each of the selected musicians. The results obtained suggest that the habit of playing from memory is more prevalent in instruments with a greater tradition of formal education, such as the violin, cello, piano, and voice; the time required, or the lack of it, for performance preparation can affect/hinder the memorization process; singing or playing from memory allows for greater spontaneity and freedom during performance, for the singers, for the tubist and for the cellist; singers prefer to sing from memory due to the visual connection they can establish with the audience; and, each musician should have the freedom to choose whether they prefer to play/sing from memory or with sheet music.
In this dissertation, a comparative study was conducted with portuguese musicians with a career of excellence in order to analyse the motivations that lead them, in solo recitals, to perform from memory or with score. To achieve this goal, eight performers were selected, representing six different instruments - piano, cello, violin, tuba, clarinet, and voice - based on the criteria of excellence defined by Talbot-Honeck & Orlick (1998). The data collection was carried out through a structured interview specifically designed for this purpose, conducted with each of the selected musicians. The results obtained suggest that the habit of playing from memory is more prevalent in instruments with a greater tradition of formal education, such as the violin, cello, piano, and voice; the time required, or the lack of it, for performance preparation can affect/hinder the memorization process; singing or playing from memory allows for greater spontaneity and freedom during performance, for the singers, for the tubist and for the cellist; singers prefer to sing from memory due to the visual connection they can establish with the audience; and, each musician should have the freedom to choose whether they prefer to play/sing from memory or with sheet music.
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Keywords
Memória Partitura Intérpretes de excelência Estudo comparativo Memory Score Performers of excellence Comparative study