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Performance musical : o estudo do corpo no percurso do cantor: a importância da interdisciplinaridade no contexto do Jazz e da musica improvisada
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A minha proposta de tese de Doutoramento procura analisar a importância do papel do corpo no desenvolvimento do músico/artista. Grande parte das abordagens ao ensino da música, mais concretamente no Jazz, dispensa o movimento. O corpo, enquanto conjunto de decisões musculares, essenciais ao ser humano é substituído pela técnica, negligenciando-se a identidade e a essência do sujeito/músico. Torna-se, pois, pertinente, provar a relevância do corpo – carne – alma na formação do músico enquanto performer. A música, apesar de ter uma concretização não-palpável (o som) é também uma prática do corpo, tal como acontece com a dança ou com o teatro e quando cantamos ou tocamos o corpo “existe” (ou seja, comporta-se) de um certo modo. A “presença” em palco, que é o primeiro aspecto da dimensão teatral, tem o espectador como cúmplice e é esperado que o protagonista performe, de forma irrepetível, a sua arte. Como preparar o músico para estar presente na performance de uma peça musical, traduzindo assim o seu estado interno e mental através da sua linguagem corporal? Nesta tese demonstra-se que o ensino formal da música não contempla um programa que vise uma consciência corporal musical – o corpo musical. Os métodos mais frequentemente adoptados no ensino do Jazz estão assentes em paradigmas pedagógicos (teórico-práticos) que aceitam o bebop como lingua franca da tradição “jazzística” e consideram o virtuosismo como “highest aesthetical norm”, mas não incluem o corpo nas suas abordagens. A proposta da tese é analisar a importância de uma tomada de consciência sobre o papel do corpo no decurso do desenvolvimento do músico/artista e contribuir com um modelo de unidade curricular, a ser inserida no curriculum da escola de jazz chamada “Som e(m) Movimento”.
My PhD Thesis Proposal seeks to analyze the importance of the role of the body in the development of the musician/artist. Most approaches to teaching music, more specifically in Jazz, dismiss movement – the body, as a set of muscular decisions, essential in the human –replacing it with technique and, therefore, neglect its content – identity and essence of the subject/musician. It therefore becomes pertinent to prove the relevance of the body – flesh – soul in the formation of the musician as a performer. Music, despite its non-tangible embodiment: sound – is also a practice of the body, as happens in dance or theater and, when we sing or play, the body “exists” (behaves) in a certain way. The “presence” – the first aspect of the theatrical dimension – of the musician, on stage, has the spectator as an accomplice and the protagonist is expected to perform, in an unrepeatable way, his art. How to prepare musicians to be present during the performance of a musical piece, thus translating their internal and mental state through their body language? Formal music education does not include a program that aims at a musical body awareness – the musical body. The most frequently adopted methods in teaching Jazz are based on pedagogical paradigms (theoretical-practical) that accept bebop as the lingua franca of the “jazz” tradition and consider virtuosity as the “highest aesthetic norm” but do not include the body in their approaches. The purpose of this thesis is to analyze the importance of consciousness and awareness of the body for the musician/artist’s growth and development and to contribute with a specific course, to be inserted in jazz school’s curriculae: “Sound and (in) Movement”.
My PhD Thesis Proposal seeks to analyze the importance of the role of the body in the development of the musician/artist. Most approaches to teaching music, more specifically in Jazz, dismiss movement – the body, as a set of muscular decisions, essential in the human –replacing it with technique and, therefore, neglect its content – identity and essence of the subject/musician. It therefore becomes pertinent to prove the relevance of the body – flesh – soul in the formation of the musician as a performer. Music, despite its non-tangible embodiment: sound – is also a practice of the body, as happens in dance or theater and, when we sing or play, the body “exists” (behaves) in a certain way. The “presence” – the first aspect of the theatrical dimension – of the musician, on stage, has the spectator as an accomplice and the protagonist is expected to perform, in an unrepeatable way, his art. How to prepare musicians to be present during the performance of a musical piece, thus translating their internal and mental state through their body language? Formal music education does not include a program that aims at a musical body awareness – the musical body. The most frequently adopted methods in teaching Jazz are based on pedagogical paradigms (theoretical-practical) that accept bebop as the lingua franca of the “jazz” tradition and consider virtuosity as the “highest aesthetic norm” but do not include the body in their approaches. The purpose of this thesis is to analyze the importance of consciousness and awareness of the body for the musician/artist’s growth and development and to contribute with a specific course, to be inserted in jazz school’s curriculae: “Sound and (in) Movement”.
Descrição
Tese de doutoramento, Artes Performativas e da Imagem em Movimento, 2025, Universidade de Lisboa, Faculdade de Belas Artes.
Palavras-chave
Jazz Performance Education Body Movement Creativity Jazz Performance Ensino Corpo Movimento Criatividade