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Mestre em Música pela Universidade Estadual de Campinas (UNICAMP). Graduado em Música pela Universidade Estadual de Londrina (UEL), com habilitação Licenciatura. Foi Professor Colaborador no Departamento de Artes da Universidade Estadual de Ponta Grossa (UEPG). Tem como foco de pesquisa e prática artística a Livre Improvisação Coletiva. Tem experiência na área de Artes, com ênfase em Improvisação, Performance e Cognição Musical.<br /><br />PhD student in Music at the University of São Paulo (USP). Master in Music from the State University of Campinas (UNICAMP). Graduated in Music by the State University of Londrina (UEL). Was a collaborating teacher at the Department of Arts of the State University of Ponta Grossa (UEPG). His research and artistic practice focus is on Free Collective Improvisation. He has experience in the Arts area, with emphasis on Improvisation, Performance and Musical Cognition.<br /><span class="u-fw700">Supervisors: </span>Manuel Falleiros and Rogério Costa<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="ri-section"><div class="ri-section-header"><span>Interests</span></div><div class="ri-tags-container"><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="78941794" href="https://www.academia.edu/Documents/in/Sonologia"><div id="js-react-on-rails-context" style="display:none" data-rails-context="{"inMailer":false,"i18nLocale":"en","i18nDefaultLocale":"en","href":"https://fflch.academia.edu/ArthurFaraco","location":"/ArthurFaraco","scheme":"https","host":"fflch.academia.edu","port":null,"pathname":"/ArthurFaraco","search":null,"httpAcceptLanguage":null,"serverSide":false}"></div> <div class="js-react-on-rails-component" 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class="ds2-5-heading-sans-serif-xs">Uploads</h2></div><div class="nav-container backbone-profile-documents-nav hidden-xs"><ul class="nav-tablist" role="tablist"><li class="nav-chip active" role="presentation"><a data-section-name="" data-toggle="tab" href="#all" role="tab">all</a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Papers" data-toggle="tab" href="#papers" role="tab" title="Papers"><span>11</span> <span class="ds2-5-body-sm-bold">Papers</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Master's-dissertation" data-toggle="tab" href="#mastersdissertation" role="tab" title="Master's dissertation"><span>1</span> <span class="ds2-5-body-sm-bold">Master's dissertation</span></a></li></ul></div><div class="divider ds-divider-16" style="margin: 0px;"></div><div class="documents-container backbone-social-profile-documents" style="width: 100%;"><div class="u-taCenter"></div><div class="profile--tab_content_container js-tab-pane tab-pane active" id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Papers" id="Papers"><h3 class="profile--tab_heading_container">Papers by Arthur Faraco</h3></div><div class="js-work-strip profile--work_container" data-work-id="122726430"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/122726430/Listening_Behaviors_and_Musical_Coordination_in_Collective_Free_Improvisation"><img alt="Research paper thumbnail of Listening Behaviors and Musical Coordination in Collective Free Improvisation" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/122726430/Listening_Behaviors_and_Musical_Coordination_in_Collective_Free_Improvisation">Listening Behaviors and Musical Coordination in Collective Free Improvisation</a></div><div class="wp-workCard_item"><span>Music & science</span><span>, 2024</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="122726430"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span 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data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/113387896/Perception_of_Structure_in_Collective_Free_Improvisation_and_its_Context_Dependency_An_Exploratory_Analysis"><img alt="Research paper thumbnail of Perception of Structure in Collective Free Improvisation and its Context Dependency: An Exploratory Analysis" class="work-thumbnail" src="https://attachments.academia-assets.com/110359005/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/113387896/Perception_of_Structure_in_Collective_Free_Improvisation_and_its_Context_Dependency_An_Exploratory_Analysis">Perception of Structure in Collective Free Improvisation and its Context Dependency: An Exploratory Analysis</a></div><div class="wp-workCard_item"><span>Empirical Musicology Review</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This paper explores the hypothesis that similar structural notions can arise in different creativ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This paper explores the hypothesis that similar structural notions can arise in different creative contexts, such as free improvisation and contemporary composition. Participants segmented a recorded improvisation into sequences based on personal criteria. Two groups were given different contexts: one group was informed the piece was a free improvisation, while the other was told it was a contemporary composition. Each participant analyzed one of 10 recordings. We aligned the segmentations by looking for overlaps within a specific time frame, Δt, considering segments simultaneous if they occurred within [t-Δt; t + Δt] of each other. Results indicated a high degree of similarity in perceived structure: 64% of segments overlapped within a 5-second frame, and 71% within 10 seconds. Additionally, the study found variations in the total number of segments and a correlation between sequence duration and the number of instruments used in the piece. These findings suggest that despite different contexts, there is a comparable perception of structural elements in musical pieces.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6030937c861d138dae1f487895ca3f59" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":110359005,"asset_id":113387896,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/110359005/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="113387896"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="113387896"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 113387896; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=113387896]").text(description); $(".js-view-count[data-work-id=113387896]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 113387896; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='113387896']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 113387896, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "6030937c861d138dae1f487895ca3f59" } } $('.js-work-strip[data-work-id=113387896]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":113387896,"title":"Perception of Structure in Collective Free Improvisation and its Context Dependency: An Exploratory Analysis","translated_title":"","metadata":{"doi":"10.18061/emr.v18i1.8875","abstract":"This paper explores the hypothesis that similar structural notions can arise in different creative contexts, such as free improvisation and contemporary composition. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="74262051"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/74262051/Ins%C3%ADgnia_Escafandro_S%C3%A1tira_e_Locus_An%C3%A1lise_De_Processos_Criativos_Em_Comprovisa%C3%A7%C3%A3o"><img alt="Research paper thumbnail of Insígnia, Escafandro, Sátira e Locus: Análise De Processos Criativos Em Comprovisação" class="work-thumbnail" src="https://attachments.academia-assets.com/82473922/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/74262051/Ins%C3%ADgnia_Escafandro_S%C3%A1tira_e_Locus_An%C3%A1lise_De_Processos_Criativos_Em_Comprovisa%C3%A7%C3%A3o">Insígnia, Escafandro, Sátira e Locus: Análise De Processos Criativos Em Comprovisação</a></div><div class="wp-workCard_item"><span>Orfeu</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Nosso objeto de análise neste artigo é o conjunto de peças insígnia, escafandro, sátira e locus, ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Nosso objeto de análise neste artigo é o conjunto de peças insígnia, escafandro, sátira e locus, criadas pelo autor. Estas são consideradas como experimentos em comprovisação, devido às características de seus processos criativos. Comprovisação, como um termo recente na literatura, não há até o momento um consenso; por isto, reunimos aqui possíveis antecedentes, as noções sobre e práticas que buscam na comprovisação sua caracterização. Distinguimos duas vertentes teóricas sobre o assunto, e realizamos considerações próprias almejando uma compreensão do termo a partir de uma interligação os fluxos de interpretação e improvisação – estes vinculados a noções de processos generativos da performance e da compreensão de Falleiros (2012) sobre o pacto. Por meio de ferramentas tradicionais de análise, e da perspectiva notacional de Bhagwati (2013), acreditamos que a ressignificação dos gestos improvisados existentes nas peças analisadas aponta para a compreensão destas como experimentos em...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2b0d1edbaa31c8241995ac9e9835bce4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":82473922,"asset_id":74262051,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/82473922/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="74262051"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="74262051"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 74262051; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=74262051]").text(description); $(".js-view-count[data-work-id=74262051]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 74262051; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='74262051']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 74262051, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2b0d1edbaa31c8241995ac9e9835bce4" } } $('.js-work-strip[data-work-id=74262051]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":74262051,"title":"Insígnia, Escafandro, Sátira e Locus: Análise De Processos Criativos Em Comprovisação","translated_title":"","metadata":{"abstract":"Nosso objeto de análise neste artigo é o conjunto de peças insígnia, escafandro, sátira e locus, criadas pelo autor. Estas são consideradas como experimentos em comprovisação, devido às características de seus processos criativos. Comprovisação, como um termo recente na literatura, não há até o momento um consenso; por isto, reunimos aqui possíveis antecedentes, as noções sobre e práticas que buscam na comprovisação sua caracterização. Distinguimos duas vertentes teóricas sobre o assunto, e realizamos considerações próprias almejando uma compreensão do termo a partir de uma interligação os fluxos de interpretação e improvisação – estes vinculados a noções de processos generativos da performance e da compreensão de Falleiros (2012) sobre o pacto. 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Distinguimos duas vertentes teóricas sobre o assunto, e realizamos considerações próprias almejando uma compreensão do termo a partir de uma interligação os fluxos de interpretação e improvisação – estes vinculados a noções de processos generativos da performance e da compreensão de Falleiros (2012) sobre o pacto. Por meio de ferramentas tradicionais de análise, e da perspectiva notacional de Bhagwati (2013), acreditamos que a ressignificação dos gestos improvisados existentes nas peças analisadas aponta para a compreensão destas como experimentos em...","internal_url":"https://www.academia.edu/74262051/Ins%C3%ADgnia_Escafandro_S%C3%A1tira_e_Locus_An%C3%A1lise_De_Processos_Criativos_Em_Comprovisa%C3%A7%C3%A3o","translated_internal_url":"","created_at":"2022-03-21T19:32:06.416-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":78941794,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":82473922,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/82473922/thumbnails/1.jpg","file_name":"12961.pdf","download_url":"https://www.academia.edu/attachments/82473922/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Insignia_Escafandro_Satira_e_Locus_Anali.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/82473922/12961-libre.pdf?1647916722=\u0026response-content-disposition=attachment%3B+filename%3DInsignia_Escafandro_Satira_e_Locus_Anali.pdf\u0026Expires=1733314779\u0026Signature=V~JUaEwjN9V5RjnGR0soIEOMewMpZMTc~YSNmSQTE03b81Kq1xKP7vTbPdqmiaX0anaePx1P~npcHCAM6ls1RYyV2TlC337KX7dlyRgt3uFlSIOvC246BWZc2SJWrtndN7lc5tRztGmLix1Prh4C8fYNiO1PPhj4qks-cHHv-wDAG3nYpRXLHefF3MYv1xaSHR70Fq5PF18FKGpXL0cM8jrhgAkBKpupQO4e7M7SgWnYT1LU8wtmDx~Zt6kwzOn4t~6cgIpq8k-w58soW62KFX0SEq9J3AN5Rq~6f~dZUOANaNV9V2f6NANhLiFcq1EWvrI9Nj1At6xndI-75qFDAA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Insígnia_Escafandro_Sátira_e_Locus_Análise_De_Processos_Criativos_Em_Comprovisação","translated_slug":"","page_count":35,"language":"pt","content_type":"Work","owner":{"id":78941794,"first_name":"Arthur","middle_initials":null,"last_name":"Faraco","page_name":"ArthurFaraco","domain_name":"fflch","created_at":"2018-03-19T11:42:48.350-07:00","display_name":"Arthur Faraco","url":"https://fflch.academia.edu/ArthurFaraco"},"attachments":[{"id":82473922,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/82473922/thumbnails/1.jpg","file_name":"12961.pdf","download_url":"https://www.academia.edu/attachments/82473922/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Insignia_Escafandro_Satira_e_Locus_Anali.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/82473922/12961-libre.pdf?1647916722=\u0026response-content-disposition=attachment%3B+filename%3DInsignia_Escafandro_Satira_e_Locus_Anali.pdf\u0026Expires=1733314779\u0026Signature=V~JUaEwjN9V5RjnGR0soIEOMewMpZMTc~YSNmSQTE03b81Kq1xKP7vTbPdqmiaX0anaePx1P~npcHCAM6ls1RYyV2TlC337KX7dlyRgt3uFlSIOvC246BWZc2SJWrtndN7lc5tRztGmLix1Prh4C8fYNiO1PPhj4qks-cHHv-wDAG3nYpRXLHefF3MYv1xaSHR70Fq5PF18FKGpXL0cM8jrhgAkBKpupQO4e7M7SgWnYT1LU8wtmDx~Zt6kwzOn4t~6cgIpq8k-w58soW62KFX0SEq9J3AN5Rq~6f~dZUOANaNV9V2f6NANhLiFcq1EWvrI9Nj1At6xndI-75qFDAA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"},{"id":82473923,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/82473923/thumbnails/1.jpg","file_name":"12961.pdf","download_url":"https://www.academia.edu/attachments/82473923/download_file","bulk_download_file_name":"Insignia_Escafandro_Satira_e_Locus_Anali.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/82473923/12961-libre.pdf?1647916722=\u0026response-content-disposition=attachment%3B+filename%3DInsignia_Escafandro_Satira_e_Locus_Anali.pdf\u0026Expires=1733314779\u0026Signature=FAQKNDvy9G~1bQHCsUe1CVeepGv7fmBR7oYdT-JuyhPnAu3CtnkdzT4AwheBM1IDY~bXzBxswKUu~q8GorAYk-cV~wHntvWHcqhWEZ0M1tdTOACW97lYwvrDL-M5O7SdQ6ciB4xSTuYZdinsbrs63eeCVxFm2pM6Gj7sV1JYEuwZrNdMf7yZr3nA-IsYx79WIykR6uIpPPWznWnT0TG9BiwYXBbc74MzUFNWqYdYB5xoe4YFvzIe6G98RKsD3AZL-Uq1bQ0hu1e9PBiO2ohGhF3nxVg-GlfY3gPpzl3jt3ndSmKsdRs3joXzGS6vmJp7qV6JFMJEEm1CoDJWXDMOng__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":184,"name":"Sociology","url":"https://www.academia.edu/Documents/in/Sociology"},{"id":22809,"name":"Free Improvisation","url":"https://www.academia.edu/Documents/in/Free_Improvisation"},{"id":507942,"name":"Improvisation / comprovisation","url":"https://www.academia.edu/Documents/in/Improvisation_comprovisation"},{"id":718605,"name":"Improvisação Musical","url":"https://www.academia.edu/Documents/in/Improvisacao_Musical"},{"id":1505980,"name":"Livre Improvisação","url":"https://www.academia.edu/Documents/in/Livre_Improvisacao"}],"urls":[{"id":18689948,"url":"https://periodicos.udesc.br/index.php/orfeu/article/download/18706/12961"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="66970522"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/66970522/Livre_improvisa%C3%A7%C3%A3o_coletiva_em_contextos_educacionais_ferramenta_ou_objetivo"><img alt="Research paper thumbnail of Livre improvisação coletiva em contextos educacionais: ferramenta ou objetivo?" class="work-thumbnail" src="https://attachments.academia-assets.com/77967037/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/66970522/Livre_improvisa%C3%A7%C3%A3o_coletiva_em_contextos_educacionais_ferramenta_ou_objetivo">Livre improvisação coletiva em contextos educacionais: ferramenta ou objetivo?</a></div><div class="wp-workCard_item"><span>XXXI Congresso Nacional da ANPPOM</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Neste texto buscaremos fundamentar a hipótese que a prática da livre improvisação não deve ser to...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Neste texto buscaremos fundamentar a hipótese que a prática da livre improvisação não deve ser tomada, em contextos educacionais, apenas como uma ferramenta didática a fim da compreensão de outros conceitos musicais (muitas vezes considerados de maior "valor"), mas sim como um objetivo em si mesmaa partir da apreensão das características da prática e da performance. Nos fundamentamos aqui na visão de uma educação para a criatividade, já bem delimitada na literatura sobre educação musical. Abordaremos também aspectos sobre aprendizagem a partir de um viés cognitivo e como a livre improvisação possui a característica de uma prática musical que permite uma atenção específica à tarefa, e não a uma peça. Concluímos que, em um contexto no qual as Universidades brasileiras inserem em suas grades curriculares disciplinas que valorizam a prática musical coletiva, a livre improvisação deve ser abordada não apenas como uma possível ferramenta para a aprendizagem de conceitos ou uma "iniciação" à improvisação, mas sim como uma prática artística com características peculiares e que possui um modo de fazer específico.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2c74639e9265b2fff777fd4c6e72800f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":77967037,"asset_id":66970522,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/77967037/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="66970522"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="66970522"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 66970522; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=66970522]").text(description); $(".js-view-count[data-work-id=66970522]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 66970522; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='66970522']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 66970522, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2c74639e9265b2fff777fd4c6e72800f" } } $('.js-work-strip[data-work-id=66970522]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":66970522,"title":"Livre improvisação coletiva em contextos educacionais: ferramenta ou objetivo?","translated_title":"","metadata":{"abstract":"Neste texto buscaremos fundamentar a hipótese que a prática da livre improvisação não deve ser tomada, em contextos educacionais, apenas como uma ferramenta didática a fim da compreensão de outros conceitos musicais (muitas vezes considerados de maior \"valor\"), mas sim como um objetivo em si mesmaa partir da apreensão das características da prática e da performance. Nos fundamentamos aqui na visão de uma educação para a criatividade, já bem delimitada na literatura sobre educação musical. Abordaremos também aspectos sobre aprendizagem a partir de um viés cognitivo e como a livre improvisação possui a característica de uma prática musical que permite uma atenção específica à tarefa, e não a uma peça. Concluímos que, em um contexto no qual as Universidades brasileiras inserem em suas grades curriculares disciplinas que valorizam a prática musical coletiva, a livre improvisação deve ser abordada não apenas como uma possível ferramenta para a aprendizagem de conceitos ou uma \"iniciação\" à improvisação, mas sim como uma prática artística com características peculiares e que possui um modo de fazer específico.","publication_date":{"day":null,"month":null,"year":2021,"errors":{}},"publication_name":"XXXI Congresso Nacional da ANPPOM"},"translated_abstract":"Neste texto buscaremos fundamentar a hipótese que a prática da livre improvisação não deve ser tomada, em contextos educacionais, apenas como uma ferramenta didática a fim da compreensão de outros conceitos musicais (muitas vezes considerados de maior \"valor\"), mas sim como um objetivo em si mesmaa partir da apreensão das características da prática e da performance. Nos fundamentamos aqui na visão de uma educação para a criatividade, já bem delimitada na literatura sobre educação musical. Abordaremos também aspectos sobre aprendizagem a partir de um viés cognitivo e como a livre improvisação possui a característica de uma prática musical que permite uma atenção específica à tarefa, e não a uma peça. Concluímos que, em um contexto no qual as Universidades brasileiras inserem em suas grades curriculares disciplinas que valorizam a prática musical coletiva, a livre improvisação deve ser abordada não apenas como uma possível ferramenta para a aprendizagem de conceitos ou uma \"iniciação\" à improvisação, mas sim como uma prática artística com características peculiares e que possui um modo de fazer específico.","internal_url":"https://www.academia.edu/66970522/Livre_improvisa%C3%A7%C3%A3o_coletiva_em_contextos_educacionais_ferramenta_ou_objetivo","translated_internal_url":"","created_at":"2022-01-03T11:07:40.811-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":78941794,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":77967037,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/77967037/thumbnails/1.jpg","file_name":"740_4039_1_PB.pdf","download_url":"https://www.academia.edu/attachments/77967037/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Livre_improvisacao_coletiva_em_contextos.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/77967037/740_4039_1_PB-libre.pdf?1641240769=\u0026response-content-disposition=attachment%3B+filename%3DLivre_improvisacao_coletiva_em_contextos.pdf\u0026Expires=1733314779\u0026Signature=CWiHmlz~eqTXM5x4~WxvmX2Pdish6v2Fg~pX1v0EeNhUbz1JyZjXVunrdKcYH9jNcnJTgKycuMbDJzNy8gPlMEAPV25f~9Vr~Tz0BLY2rNHwCNAP-qP8Bv8Sp-uzErLN6qm4jw03q06-OmktHx42azOpeid8xqZwQRDteVsUFN-RTtDkJ38zyxPW03-UIGnlZNdc~~r3Pm9VlMsNt1K~NPmyUFR0gmB3WrKQG9RuH0UbPpG1eBBYBCgFYG3VtSD3Yr~WVOTwYF5nbiCVBiwecnQygLLciHYN8ZYS5k46aqdc9cvEoX1lpREEdu7FHFDg7LpXEY59ltTF9IlpkOobnw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Livre_improvisação_coletiva_em_contextos_educacionais_ferramenta_ou_objetivo","translated_slug":"","page_count":9,"language":"pt","content_type":"Work","owner":{"id":78941794,"first_name":"Arthur","middle_initials":null,"last_name":"Faraco","page_name":"ArthurFaraco","domain_name":"fflch","created_at":"2018-03-19T11:42:48.350-07:00","display_name":"Arthur Faraco","url":"https://fflch.academia.edu/ArthurFaraco"},"attachments":[{"id":77967037,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/77967037/thumbnails/1.jpg","file_name":"740_4039_1_PB.pdf","download_url":"https://www.academia.edu/attachments/77967037/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Livre_improvisacao_coletiva_em_contextos.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/77967037/740_4039_1_PB-libre.pdf?1641240769=\u0026response-content-disposition=attachment%3B+filename%3DLivre_improvisacao_coletiva_em_contextos.pdf\u0026Expires=1733314779\u0026Signature=CWiHmlz~eqTXM5x4~WxvmX2Pdish6v2Fg~pX1v0EeNhUbz1JyZjXVunrdKcYH9jNcnJTgKycuMbDJzNy8gPlMEAPV25f~9Vr~Tz0BLY2rNHwCNAP-qP8Bv8Sp-uzErLN6qm4jw03q06-OmktHx42azOpeid8xqZwQRDteVsUFN-RTtDkJ38zyxPW03-UIGnlZNdc~~r3Pm9VlMsNt1K~NPmyUFR0gmB3WrKQG9RuH0UbPpG1eBBYBCgFYG3VtSD3Yr~WVOTwYF5nbiCVBiwecnQygLLciHYN8ZYS5k46aqdc9cvEoX1lpREEdu7FHFDg7LpXEY59ltTF9IlpkOobnw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education"},{"id":53278,"name":"Music Improvisation","url":"https://www.academia.edu/Documents/in/Music_Improvisation"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="51316942"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/51316942/Perception_of_a_Comprovisation_The_Ambiguity_of_Listening_to_a_Composed_Musical_Piece_Derived_from_Improvisational_Material"><img alt="Research paper thumbnail of Perception of a Comprovisation: The Ambiguity of Listening to a Composed Musical Piece Derived from Improvisational Material" class="work-thumbnail" src="https://attachments.academia-assets.com/69089551/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/51316942/Perception_of_a_Comprovisation_The_Ambiguity_of_Listening_to_a_Composed_Musical_Piece_Derived_from_Improvisational_Material">Perception of a Comprovisation: The Ambiguity of Listening to a Composed Musical Piece Derived from Improvisational Material</a></div><div class="wp-workCard_item"><span>Opus, vol. 27, n. 2</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In this paper, we aim to reproduce and expand on some of the empirical experiments that have been...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In this paper, we aim to reproduce and expand on some of the empirical experiments that have been used to address the aesthetics of listening to improvised music. We focus on a piece of music that we consider to be a comprovisation, a term used for music that is a blend of composition and improvisation. The responses offered by the participants in our experiment were somewhat ambiguous, as there was no clear consensus in regard to the suggested musical form or the quality of judgments about the compositional and improvisational aspects of the piece. The piece used for the empirical experiment was based on a free improvisation of two Brazilian musicians: Vinicius Dorin on soprano saxophone and Nenê on drums. The music was further reorganized (by means of digital audio edition) and orchestrated by American composer John Rapson. The final phonogram represents an interpretation of the composer's improvisation, but it still reflects the improvisational characteristics of the primary material. Our method is based on Canonne's (2018) empirical experiments, which departs from an analysis based on the grounded theory approach of multiple comparison. Our method is also based on the vision of the contextual information's influence on subjective evaluations (Anglada-Tort, 2018). We separated the participants into musicians and non-musicians, and then divided them into three groups, giving each group a different informational context. Despite using a small sample of participants and a qualitative analysis, we believe that the results show how ambiguity can exist among listeners who are exposed to music without any context information. However, because this research is a first step, we cannot generalize the results. In the future, we believe that this kind of experiment could be expanded to confirm our primary data.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1c23f0f9bbf92886ca93121ae7d78d95" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":69089551,"asset_id":51316942,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/69089551/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="51316942"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="51316942"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 51316942; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=51316942]").text(description); $(".js-view-count[data-work-id=51316942]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 51316942; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='51316942']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 51316942, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1c23f0f9bbf92886ca93121ae7d78d95" } } $('.js-work-strip[data-work-id=51316942]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":51316942,"title":"Perception of a Comprovisation: The Ambiguity of Listening to a Composed Musical Piece Derived from Improvisational Material","translated_title":"","metadata":{"abstract":"In this paper, we aim to reproduce and expand on some of the empirical experiments that have been used to address the aesthetics of listening to improvised music. We focus on a piece of music that we consider to be a comprovisation, a term used for music that is a blend of composition and improvisation. The responses offered by the participants in our experiment were somewhat ambiguous, as there was no clear consensus in regard to the suggested musical form or the quality of judgments about the compositional and improvisational aspects of the piece. The piece used for the empirical experiment was based on a free improvisation of two Brazilian musicians: Vinicius Dorin on soprano saxophone and Nenê on drums. The music was further reorganized (by means of digital audio edition) and orchestrated by American composer John Rapson. The final phonogram represents an interpretation of the composer's improvisation, but it still reflects the improvisational characteristics of the primary material. Our method is based on Canonne's (2018) empirical experiments, which departs from an analysis based on the grounded theory approach of multiple comparison. Our method is also based on the vision of the contextual information's influence on subjective evaluations (Anglada-Tort, 2018). We separated the participants into musicians and non-musicians, and then divided them into three groups, giving each group a different informational context. Despite using a small sample of participants and a qualitative analysis, we believe that the results show how ambiguity can exist among listeners who are exposed to music without any context information. However, because this research is a first step, we cannot generalize the results. In the future, we believe that this kind of experiment could be expanded to confirm our primary data.","publication_date":{"day":null,"month":null,"year":2021,"errors":{}},"publication_name":"Opus, vol. 27, n. 2"},"translated_abstract":"In this paper, we aim to reproduce and expand on some of the empirical experiments that have been used to address the aesthetics of listening to improvised music. We focus on a piece of music that we consider to be a comprovisation, a term used for music that is a blend of composition and improvisation. The responses offered by the participants in our experiment were somewhat ambiguous, as there was no clear consensus in regard to the suggested musical form or the quality of judgments about the compositional and improvisational aspects of the piece. The piece used for the empirical experiment was based on a free improvisation of two Brazilian musicians: Vinicius Dorin on soprano saxophone and Nenê on drums. The music was further reorganized (by means of digital audio edition) and orchestrated by American composer John Rapson. The final phonogram represents an interpretation of the composer's improvisation, but it still reflects the improvisational characteristics of the primary material. Our method is based on Canonne's (2018) empirical experiments, which departs from an analysis based on the grounded theory approach of multiple comparison. Our method is also based on the vision of the contextual information's influence on subjective evaluations (Anglada-Tort, 2018). We separated the participants into musicians and non-musicians, and then divided them into three groups, giving each group a different informational context. Despite using a small sample of participants and a qualitative analysis, we believe that the results show how ambiguity can exist among listeners who are exposed to music without any context information. However, because this research is a first step, we cannot generalize the results. In the future, we believe that this kind of experiment could be expanded to confirm our primary data.","internal_url":"https://www.academia.edu/51316942/Perception_of_a_Comprovisation_The_Ambiguity_of_Listening_to_a_Composed_Musical_Piece_Derived_from_Improvisational_Material","translated_internal_url":"","created_at":"2021-09-05T15:13:18.241-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":78941794,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":69089551,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/69089551/thumbnails/1.jpg","file_name":"perception_of_comprovisation_faraco.pdf","download_url":"https://www.academia.edu/attachments/69089551/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Perception_of_a_Comprovisation_The_Ambig.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/69089551/perception_of_comprovisation_faraco-libre.pdf?1630881625=\u0026response-content-disposition=attachment%3B+filename%3DPerception_of_a_Comprovisation_The_Ambig.pdf\u0026Expires=1733314779\u0026Signature=aqB5ixNYh48SfSxAn5Omlhxzbfawx5yiKFkTZjcSMvwekBLbcaoU~mzFUJpKDoC9omEsB3JpUluA~1~tOdItIFV-G6hWK4oWgsH0TByLqojHXNE~QT-kS9wF9H5dqqBtcNDLPQaijR31CriRXrYvTL~BAprcdOKhrlrLUxZ2Sox24FVNTyhLETAwbbnwpfJw4aIOoWmxvN1qziPK2Bd0OEhWPHO3JjvQzgHV2vDWtaJf-ZTkoqs5ktXCIOzQqfReBs5rWxc5gUtI4jURf7AWtsWVsXKaTc~Eo-HIE5HHmD5loQfolFdDLUT4zB7B84a3lpEsvMWWqEnOIQ7BWauLWw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Perception_of_a_Comprovisation_The_Ambiguity_of_Listening_to_a_Composed_Musical_Piece_Derived_from_Improvisational_Material","translated_slug":"","page_count":27,"language":"en","content_type":"Work","owner":{"id":78941794,"first_name":"Arthur","middle_initials":null,"last_name":"Faraco","page_name":"ArthurFaraco","domain_name":"fflch","created_at":"2018-03-19T11:42:48.350-07:00","display_name":"Arthur Faraco","url":"https://fflch.academia.edu/ArthurFaraco"},"attachments":[{"id":69089551,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/69089551/thumbnails/1.jpg","file_name":"perception_of_comprovisation_faraco.pdf","download_url":"https://www.academia.edu/attachments/69089551/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Perception_of_a_Comprovisation_The_Ambig.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/69089551/perception_of_comprovisation_faraco-libre.pdf?1630881625=\u0026response-content-disposition=attachment%3B+filename%3DPerception_of_a_Comprovisation_The_Ambig.pdf\u0026Expires=1733314779\u0026Signature=aqB5ixNYh48SfSxAn5Omlhxzbfawx5yiKFkTZjcSMvwekBLbcaoU~mzFUJpKDoC9omEsB3JpUluA~1~tOdItIFV-G6hWK4oWgsH0TByLqojHXNE~QT-kS9wF9H5dqqBtcNDLPQaijR31CriRXrYvTL~BAprcdOKhrlrLUxZ2Sox24FVNTyhLETAwbbnwpfJw4aIOoWmxvN1qziPK2Bd0OEhWPHO3JjvQzgHV2vDWtaJf-ZTkoqs5ktXCIOzQqfReBs5rWxc5gUtI4jURf7AWtsWVsXKaTc~Eo-HIE5HHmD5loQfolFdDLUT4zB7B84a3lpEsvMWWqEnOIQ7BWauLWw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":22809,"name":"Free Improvisation","url":"https://www.academia.edu/Documents/in/Free_Improvisation"},{"id":53278,"name":"Music Improvisation","url":"https://www.academia.edu/Documents/in/Music_Improvisation"},{"id":507942,"name":"Improvisation / comprovisation","url":"https://www.academia.edu/Documents/in/Improvisation_comprovisation"},{"id":983741,"name":"Musical Perception","url":"https://www.academia.edu/Documents/in/Musical_Perception"}],"urls":[]}, dispatcherData: dispatcherData }); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="46859537"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/46859537/Comprovisa%C3%A7%C3%A3o_no%C3%A7%C3%B5es_sua_contextualiza%C3%A7%C3%A3o_no_regime_est%C3%A9tico_das_artes_e_a_abordagem_pela_recursividade"><img alt="Research paper thumbnail of Comprovisação: noções, sua contextualização no regime estético das artes e a abordagem pela recursividade" class="work-thumbnail" src="https://attachments.academia-assets.com/66265793/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/46859537/Comprovisa%C3%A7%C3%A3o_no%C3%A7%C3%B5es_sua_contextualiza%C3%A7%C3%A3o_no_regime_est%C3%A9tico_das_artes_e_a_abordagem_pela_recursividade">Comprovisação: noções, sua contextualização no regime estético das artes e a abordagem pela recursividade</a></div><div class="wp-workCard_item"><span>Anais do SIMPOM </span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Resumo: Este artigo tem como objetivo versar sobre noções de comprovisação e propor uma nova abor...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Resumo: Este artigo tem como objetivo versar sobre noções de comprovisação e propor uma nova abordagem para complementarmos sua compreensão. O termo, utilizado recentemente na literatura, não possui um consenso conceitual. Iremos, portanto, abordar as vertentes teóricas e as definições existentes em autores como Hannan (2006), Dudas (2010), Mailman (2013) e Bhagwati (2011), assim como exemplos práticos de obras comprovisadas, porém, com um viés crítico, a partir de uma análise sobre os fluxos da interpretação e da improvisação. Consideramos a comprovisação como prática inserida no que Rancière (2005) considera como regime estético das artes, e que tem como base uma equiparação de processos composicionais e improvisatórios e uma possível autonomia do intérprete. Para nossa abordagem, recorreremos ao conceito de recursividade, este derivado da linguística, por meio da compreensão da improvisação como um processo autorreferente, e das diferentes operações de recursão existentes no processo composicional e improvisatório. <br /><br />Abstract: This article aims to address notions of comprovisation and propose a new approach to complement its understanding. The term, recently used in the literature, does not have a conceptual consensus. We will, therefore, address the theoretical aspects and the existing definitions, in authors such as Hannan (2006), Dudas (2010), Mailman (2013) and Bhagwati (2011), as well as practical examples of comprovisational works. However with a critical bias, from an analysis of the flows of interpretation and improvisation. We consider comprovisation as a practice inserted in what Rancière (2005) considers as the aesthetic regime of the arts, and which is based on an equalization of compositional and improvisational processes, considering the values of these "traditions" and the possible autonomy of the performer. For our approach, we will resort to the concept of recursion, this derived from linguistics, through the understanding of improvisation as a self-referential process, and the different recursion operations that exist in the compositional and improvisational process.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="58b4eec2e897acae6c0916bd585bb276" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":66265793,"asset_id":46859537,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/66265793/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="46859537"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="46859537"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 46859537; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=46859537]").text(description); $(".js-view-count[data-work-id=46859537]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 46859537; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='46859537']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 46859537, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "58b4eec2e897acae6c0916bd585bb276" } } $('.js-work-strip[data-work-id=46859537]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":46859537,"title":"Comprovisação: noções, sua contextualização no regime estético das artes e a abordagem pela recursividade","translated_title":"","metadata":{"abstract":"Resumo: Este artigo tem como objetivo versar sobre noções de comprovisação e propor uma nova abordagem para complementarmos sua compreensão. O termo, utilizado recentemente na literatura, não possui um consenso conceitual. Iremos, portanto, abordar as vertentes teóricas e as definições existentes em autores como Hannan (2006), Dudas (2010), Mailman (2013) e Bhagwati (2011), assim como exemplos práticos de obras comprovisadas, porém, com um viés crítico, a partir de uma análise sobre os fluxos da interpretação e da improvisação. Consideramos a comprovisação como prática inserida no que Rancière (2005) considera como regime estético das artes, e que tem como base uma equiparação de processos composicionais e improvisatórios e uma possível autonomia do intérprete. Para nossa abordagem, recorreremos ao conceito de recursividade, este derivado da linguística, por meio da compreensão da improvisação como um processo autorreferente, e das diferentes operações de recursão existentes no processo composicional e improvisatório. \n\nAbstract: This article aims to address notions of comprovisation and propose a new approach to complement its understanding. The term, recently used in the literature, does not have a conceptual consensus. We will, therefore, address the theoretical aspects and the existing definitions, in authors such as Hannan (2006), Dudas (2010), Mailman (2013) and Bhagwati (2011), as well as practical examples of comprovisational works. However with a critical bias, from an analysis of the flows of interpretation and improvisation. 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Iremos, portanto, abordar as vertentes teóricas e as definições existentes em autores como Hannan (2006), Dudas (2010), Mailman (2013) e Bhagwati (2011), assim como exemplos práticos de obras comprovisadas, porém, com um viés crítico, a partir de uma análise sobre os fluxos da interpretação e da improvisação. Consideramos a comprovisação como prática inserida no que Rancière (2005) considera como regime estético das artes, e que tem como base uma equiparação de processos composicionais e improvisatórios e uma possível autonomia do intérprete. Para nossa abordagem, recorreremos ao conceito de recursividade, este derivado da linguística, por meio da compreensão da improvisação como um processo autorreferente, e das diferentes operações de recursão existentes no processo composicional e improvisatório. \n\nAbstract: This article aims to address notions of comprovisation and propose a new approach to complement its understanding. The term, recently used in the literature, does not have a conceptual consensus. We will, therefore, address the theoretical aspects and the existing definitions, in authors such as Hannan (2006), Dudas (2010), Mailman (2013) and Bhagwati (2011), as well as practical examples of comprovisational works. However with a critical bias, from an analysis of the flows of interpretation and improvisation. We consider comprovisation as a practice inserted in what Rancière (2005) considers as the aesthetic regime of the arts, and which is based on an equalization of compositional and improvisational processes, considering the values of these \"traditions\" and the possible autonomy of the performer. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="46859536"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/46859536/Reflex%C3%B5es_sobre_as_no%C3%A7%C3%B5es_de_emerg%C3%AAncia_e_complexidade_na_livre_improvisa%C3%A7%C3%A3o_coletiva"><img alt="Research paper thumbnail of Reflexões sobre as noções de emergência e complexidade na livre improvisação coletiva" class="work-thumbnail" src="https://attachments.academia-assets.com/66265791/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/46859536/Reflex%C3%B5es_sobre_as_no%C3%A7%C3%B5es_de_emerg%C3%AAncia_e_complexidade_na_livre_improvisa%C3%A7%C3%A3o_coletiva">Reflexões sobre as noções de emergência e complexidade na livre improvisação coletiva</a></div><div class="wp-workCard_item"><span>Anais do XXX Congresso da ANPPOM - Associação Nacional de Pesquisa e Pós-Graduação</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Buscaremos neste artigo realizar um levantamento bibliográfico sobre a compreensão da Livre Impro...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Buscaremos neste artigo realizar um levantamento bibliográfico sobre a compreensão da Livre Improvisação Coletiva como um sistema complexo ou emergente. Nosso objetivo é demonstrar como esta compreensão, sendo atualmente testada empiricamente por Canonne e<br />Garnier (2011; 2015), tem como foco a descrição de possíveis modelos para a prática musical mencionada. Estes modelos partem de fundamentos da cognição musical; compararemos, portanto, os modelos de improvisação de Pressing (1988), Clarke (2001) e Canonne e Garnier (2011), a fim de demonstrar que a emergência, ou a auto-organização na Livre Improvisação Coletiva pode ser considerada como um elemento hierárquico ou recursivo na performance, tornando-se portanto um referente temporário, hipótese levantada por Costa e Schaub (2013).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="cb51629e6699122d2ef5298c881590a3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":66265791,"asset_id":46859536,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/66265791/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="46859536"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="46859536"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 46859536; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=46859536]").text(description); $(".js-view-count[data-work-id=46859536]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 46859536; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='46859536']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 46859536, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "cb51629e6699122d2ef5298c881590a3" } } $('.js-work-strip[data-work-id=46859536]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":46859536,"title":"Reflexões sobre as noções de emergência e complexidade na livre improvisação coletiva","translated_title":"","metadata":{"abstract":"Buscaremos neste artigo realizar um levantamento bibliográfico sobre a compreensão da Livre Improvisação Coletiva como um sistema complexo ou emergente. Nosso objetivo é demonstrar como esta compreensão, sendo atualmente testada empiricamente por Canonne e\nGarnier (2011; 2015), tem como foco a descrição de possíveis modelos para a prática musical mencionada. Estes modelos partem de fundamentos da cognição musical; compararemos, portanto, os modelos de improvisação de Pressing (1988), Clarke (2001) e Canonne e Garnier (2011), a fim de demonstrar que a emergência, ou a auto-organização na Livre Improvisação Coletiva pode ser considerada como um elemento hierárquico ou recursivo na performance, tornando-se portanto um referente temporário, hipótese levantada por Costa e Schaub (2013).","publication_date":{"day":null,"month":null,"year":2020,"errors":{}},"publication_name":"Anais do XXX Congresso da ANPPOM - Associação Nacional de Pesquisa e Pós-Graduação"},"translated_abstract":"Buscaremos neste artigo realizar um levantamento bibliográfico sobre a compreensão da Livre Improvisação Coletiva como um sistema complexo ou emergente. Nosso objetivo é demonstrar como esta compreensão, sendo atualmente testada empiricamente por Canonne e\nGarnier (2011; 2015), tem como foco a descrição de possíveis modelos para a prática musical mencionada. Estes modelos partem de fundamentos da cognição musical; compararemos, portanto, os modelos de improvisação de Pressing (1988), Clarke (2001) e Canonne e Garnier (2011), a fim de demonstrar que a emergência, ou a auto-organização na Livre Improvisação Coletiva pode ser considerada como um elemento hierárquico ou recursivo na performance, tornando-se portanto um referente temporário, hipótese levantada por Costa e Schaub (2013).","internal_url":"https://www.academia.edu/46859536/Reflex%C3%B5es_sobre_as_no%C3%A7%C3%B5es_de_emerg%C3%AAncia_e_complexidade_na_livre_improvisa%C3%A7%C3%A3o_coletiva","translated_internal_url":"","created_at":"2021-04-14T07:02:53.825-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":78941794,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":66265791,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/66265791/thumbnails/1.jpg","file_name":"improvisacao_livre_complexidade.pdf","download_url":"https://www.academia.edu/attachments/66265791/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Reflexoes_sobre_as_nocoes_de_emergencia.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/66265791/improvisacao_livre_complexidade-libre.pdf?1618411770=\u0026response-content-disposition=attachment%3B+filename%3DReflexoes_sobre_as_nocoes_de_emergencia.pdf\u0026Expires=1733314779\u0026Signature=eraL~3U6OktdyIfBWpJmSg9SUcEzyaLfOPGblBknTO4hK5lQqUMWt0oSE7CAQSE08pE0lROKX6ydmSk0pjM55eLS7cizHtJdd95QA50MxUOk1l1b5LqwtnLpZnZOU5qUryLwgTbZIfUbsgu2ZyXs9lAhr0wV~q9VgXOS2tnmKEV6TRaQ1A4LQU1uhvAhNxk3PXYkbu0E2uR5EnxYEU5164wiq8cZn9IqQmwBEdtUJejiT4XujHvsu7LrWpm7lgi6PwW-28dcW2PIgjEqkSZhPRiNbsBGujhsWN6ecnTjuPdMzFRn5pg9YKiP9wsC17mm7T7auODczsgQpnxSi8D3aA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Reflexões_sobre_as_noções_de_emergência_e_complexidade_na_livre_improvisação_coletiva","translated_slug":"","page_count":10,"language":"pt","content_type":"Work","owner":{"id":78941794,"first_name":"Arthur","middle_initials":null,"last_name":"Faraco","page_name":"ArthurFaraco","domain_name":"fflch","created_at":"2018-03-19T11:42:48.350-07:00","display_name":"Arthur Faraco","url":"https://fflch.academia.edu/ArthurFaraco"},"attachments":[{"id":66265791,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/66265791/thumbnails/1.jpg","file_name":"improvisacao_livre_complexidade.pdf","download_url":"https://www.academia.edu/attachments/66265791/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Reflexoes_sobre_as_nocoes_de_emergencia.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/66265791/improvisacao_livre_complexidade-libre.pdf?1618411770=\u0026response-content-disposition=attachment%3B+filename%3DReflexoes_sobre_as_nocoes_de_emergencia.pdf\u0026Expires=1733314779\u0026Signature=eraL~3U6OktdyIfBWpJmSg9SUcEzyaLfOPGblBknTO4hK5lQqUMWt0oSE7CAQSE08pE0lROKX6ydmSk0pjM55eLS7cizHtJdd95QA50MxUOk1l1b5LqwtnLpZnZOU5qUryLwgTbZIfUbsgu2ZyXs9lAhr0wV~q9VgXOS2tnmKEV6TRaQ1A4LQU1uhvAhNxk3PXYkbu0E2uR5EnxYEU5164wiq8cZn9IqQmwBEdtUJejiT4XujHvsu7LrWpm7lgi6PwW-28dcW2PIgjEqkSZhPRiNbsBGujhsWN6ecnTjuPdMzFRn5pg9YKiP9wsC17mm7T7auODczsgQpnxSi8D3aA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="46859535"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/46859535/An%C3%A1lise_da_pe%C3%A7a_%C3%A0_deriva_sob_a_perspectiva_da_comprovisa%C3%A7%C3%A3o_como_pr%C3%A1tica_experimental"><img alt="Research paper thumbnail of Análise da peça ``à deriva'' sob a perspectiva da comprovisação como prática experimental" class="work-thumbnail" src="https://attachments.academia-assets.com/66265792/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/46859535/An%C3%A1lise_da_pe%C3%A7a_%C3%A0_deriva_sob_a_perspectiva_da_comprovisa%C3%A7%C3%A3o_como_pr%C3%A1tica_experimental">Análise da peça ``à deriva'' sob a perspectiva da comprovisação como prática experimental</a></div><div class="wp-workCard_item"><span>Anais do EITAM 5 - Encontro Internacional de Teoria e Análise Musical</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Neste artigo realizaremos uma análise a partir da peça "à deriva", na qual ocorreu um processo cr...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Neste artigo realizaremos uma análise a partir da peça "à deriva", na qual ocorreu um processo criativo que relaciona-se com o conceito de comprovisação. É proposto um quadro metodológico analítico a partir de quatro principais aspectos: a relação do processo criativo da peça com as variadas conceituações de comprovisação análise comparativa entre as duas performances realizadas. Por fim, esperamos um resultado de análise que demonstre uma possível relação interativa na qual participam compositor, notação e intérpretes, ocorrendo portanto uma valoração similar entre processos composicionais e improvisatórios. Palavras-chave: Comprovisação. Composição. Improvisação. Análise Musical. Title: Analysis of the piece "à deriva" from the perspective of comprovisation as experimental practice <br /><br />In this paper we will perform an analysis based on the musical piece named "à deriva", in which a creative process that relates to the concept of comprovisation occurred. An analytical methodological framework is proposed based on four main aspects: the relationship of the creative process of the piece with the various concepts of comprovisation (HANNAN, 2006; BHAGWATI, 2013; DUDAS, 2010; MAILMAN, 2013);its formal structure based on the concepts of musical gesture and statement (WISHART, 1996; SULLIVAN, 1984; STEUERNAGEL, 2015); the notational perspective (BHAGWATI, 2013); an comparative analysis based on the two different performances of the piece. Finally, we expect a result of analysis that demonstrates a possible interactive relationship in which composer, notation and performers participate, and thus a similar valuation occurs between compositional and improvisational processes.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="781ec1d21d781b01a0c9eb61b8b53496" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":66265792,"asset_id":46859535,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/66265792/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="46859535"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="46859535"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 46859535; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=46859535]").text(description); $(".js-view-count[data-work-id=46859535]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 46859535; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='46859535']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 46859535, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "781ec1d21d781b01a0c9eb61b8b53496" } } $('.js-work-strip[data-work-id=46859535]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":46859535,"title":"Análise da peça ``à deriva'' sob a perspectiva da comprovisação como prática experimental","translated_title":"","metadata":{"abstract":"Neste artigo realizaremos uma análise a partir da peça \"à deriva\", na qual ocorreu um processo criativo que relaciona-se com o conceito de comprovisação. É proposto um quadro metodológico analítico a partir de quatro principais aspectos: a relação do processo criativo da peça com as variadas conceituações de comprovisação análise comparativa entre as duas performances realizadas. Por fim, esperamos um resultado de análise que demonstre uma possível relação interativa na qual participam compositor, notação e intérpretes, ocorrendo portanto uma valoração similar entre processos composicionais e improvisatórios. Palavras-chave: Comprovisação. Composição. Improvisação. Análise Musical. Title: Analysis of the piece \"à deriva\" from the perspective of comprovisation as experimental practice \n\nIn this paper we will perform an analysis based on the musical piece named \"à deriva\", in which a creative process that relates to the concept of comprovisation occurred. An analytical methodological framework is proposed based on four main aspects: the relationship of the creative process of the piece with the various concepts of comprovisation (HANNAN, 2006; BHAGWATI, 2013; DUDAS, 2010; MAILMAN, 2013);its formal structure based on the concepts of musical gesture and statement (WISHART, 1996; SULLIVAN, 1984; STEUERNAGEL, 2015); the notational perspective (BHAGWATI, 2013); an comparative analysis based on the two different performances of the piece. Finally, we expect a result of analysis that demonstrates a possible interactive relationship in which composer, notation and performers participate, and thus a similar valuation occurs between compositional and improvisational processes.","publication_date":{"day":null,"month":null,"year":2020,"errors":{}},"publication_name":"Anais do EITAM 5 - Encontro Internacional de Teoria e Análise Musical"},"translated_abstract":"Neste artigo realizaremos uma análise a partir da peça \"à deriva\", na qual ocorreu um processo criativo que relaciona-se com o conceito de comprovisação. É proposto um quadro metodológico analítico a partir de quatro principais aspectos: a relação do processo criativo da peça com as variadas conceituações de comprovisação análise comparativa entre as duas performances realizadas. Por fim, esperamos um resultado de análise que demonstre uma possível relação interativa na qual participam compositor, notação e intérpretes, ocorrendo portanto uma valoração similar entre processos composicionais e improvisatórios. Palavras-chave: Comprovisação. Composição. Improvisação. Análise Musical. Title: Analysis of the piece \"à deriva\" from the perspective of comprovisation as experimental practice \n\nIn this paper we will perform an analysis based on the musical piece named \"à deriva\", in which a creative process that relates to the concept of comprovisation occurred. An analytical methodological framework is proposed based on four main aspects: the relationship of the creative process of the piece with the various concepts of comprovisation (HANNAN, 2006; BHAGWATI, 2013; DUDAS, 2010; MAILMAN, 2013);its formal structure based on the concepts of musical gesture and statement (WISHART, 1996; SULLIVAN, 1984; STEUERNAGEL, 2015); the notational perspective (BHAGWATI, 2013); an comparative analysis based on the two different performances of the piece. Finally, we expect a result of analysis that demonstrates a possible interactive relationship in which composer, notation and performers participate, and thus a similar valuation occurs between compositional and improvisational processes.","internal_url":"https://www.academia.edu/46859535/An%C3%A1lise_da_pe%C3%A7a_%C3%A0_deriva_sob_a_perspectiva_da_comprovisa%C3%A7%C3%A3o_como_pr%C3%A1tica_experimental","translated_internal_url":"","created_at":"2021-04-14T07:02:53.812-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":78941794,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":66265792,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/66265792/thumbnails/1.jpg","file_name":"eitam_a_deriva.pdf","download_url":"https://www.academia.edu/attachments/66265792/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Analise_da_peca_a_deriva_sob_a_perspecti.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/66265792/eitam_a_deriva-libre.pdf?1618411773=\u0026response-content-disposition=attachment%3B+filename%3DAnalise_da_peca_a_deriva_sob_a_perspecti.pdf\u0026Expires=1733314779\u0026Signature=OKLEMYNAoR5HCMRgO7AMQhKgkFK8zgathlrY5TyKp26~~E9fDpBI6KB6QmiBQ-61ti3WBBAEWKw5MDm6QgH3SMJNbecoh~DGhQfl4Ul6qGLFGn0rEUlDYVyKD1z8P3iMGi0qw4nOOvXwwYbRYwzmnIl3t2wCMCzfhGP7xtjRl8T9Btbl4t8B~apY49fnJGkbkOzK8n4O6n4mW4Ry2jyjpTZWaAmXcYz4dNVPuGr0LWmRqCqCHqCkHLP~eA~EujV-7l451D3Io40OSxohM4eDKycjqS53QSjLvJZHe-TChDgED6WR1kOo2JJDwr7bJzbTP3jLqmAvoPilMloDq-oiCQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Análise_da_peça_à_deriva_sob_a_perspectiva_da_comprovisação_como_prática_experimental","translated_slug":"","page_count":16,"language":"pt","content_type":"Work","owner":{"id":78941794,"first_name":"Arthur","middle_initials":null,"last_name":"Faraco","page_name":"ArthurFaraco","domain_name":"fflch","created_at":"2018-03-19T11:42:48.350-07:00","display_name":"Arthur Faraco","url":"https://fflch.academia.edu/ArthurFaraco"},"attachments":[{"id":66265792,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/66265792/thumbnails/1.jpg","file_name":"eitam_a_deriva.pdf","download_url":"https://www.academia.edu/attachments/66265792/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Analise_da_peca_a_deriva_sob_a_perspecti.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/66265792/eitam_a_deriva-libre.pdf?1618411773=\u0026response-content-disposition=attachment%3B+filename%3DAnalise_da_peca_a_deriva_sob_a_perspecti.pdf\u0026Expires=1733314779\u0026Signature=OKLEMYNAoR5HCMRgO7AMQhKgkFK8zgathlrY5TyKp26~~E9fDpBI6KB6QmiBQ-61ti3WBBAEWKw5MDm6QgH3SMJNbecoh~DGhQfl4Ul6qGLFGn0rEUlDYVyKD1z8P3iMGi0qw4nOOvXwwYbRYwzmnIl3t2wCMCzfhGP7xtjRl8T9Btbl4t8B~apY49fnJGkbkOzK8n4O6n4mW4Ry2jyjpTZWaAmXcYz4dNVPuGr0LWmRqCqCHqCkHLP~eA~EujV-7l451D3Io40OSxohM4eDKycjqS53QSjLvJZHe-TChDgED6WR1kOo2JJDwr7bJzbTP3jLqmAvoPilMloDq-oiCQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="46859534"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/46859534/Mystery_and_Manners_comprovisa%C3%A7%C3%A3o_localidade_e_cosmopolitismo"><img alt="Research paper thumbnail of Mystery and Manners: comprovisação, localidade e cosmopolitismo" class="work-thumbnail" src="https://attachments.academia-assets.com/66265794/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/46859534/Mystery_and_Manners_comprovisa%C3%A7%C3%A3o_localidade_e_cosmopolitismo">Mystery and Manners: comprovisação, localidade e cosmopolitismo</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Resumo: Este artigo tem como objetivo demonstrar como o álbum Mystery and Manners, do compositor ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Resumo: Este artigo tem como objetivo demonstrar como o álbum Mystery and Manners, do compositor norte-americano John Rapson, está vinculado à estética da comprovisação, e como possui características que remetem às concepções de idiomatismo (BAILEY, 1993) que refletem na produção de uma fantasia de localidade (MASSEY, 1993), pelo viés de uma música cosmopolita (STOKES, 2007). Para tal objetivo, serão realizadas análises sobre as teorias vinculadas à comprovisação, e como a perspectiva notacional de Bhagwati (2013) torna-se uma ferramenta analítica de valor para compreender obras contemporâneas inseridas em tal estética.<br /><br /> Abstract: This paper aims to demonstrate how the album Mystery and Manners, by north american composer John Rapson, is linked to the aesthetics of comprovisation, and how it has characteristics that refer to the conceptions of idiomacity (BAILEY, 1993) that reflects on the production of a fantasy of locality (MASSEY, 1993), by the bias of cosmopolitan music (STOKES, 2007). For this purpose, analyzes will be carried out on the theories related to comprovisation, and how the notational perspective of Bhagwati (2013) becomes an analytical tool of value to understand contemporary works inserted in such aesthetics O termo comprovisação é recorrente em duas vertentes: uma primeira relativa à descrição de práticas musicais contemporâneas que envolvem elementos de dois processos criativos que por muito foram considerados distintos, opostos: a composição e a improvisação. Apesar de a improvisação ser recorrente em todo o processo histórico musical (FERAND, 1961), ela é mascarada da historiografia e da musicologia tradicional (NETTL; RUSSELL, 1998), devido às metodologias aplicadas por tais áreas que focam no produto, no documento, ou seja, na composição e os processos vinculados. A partir da segunda metade do século XX, da concepção de obra aberta (ECO, 2005) e da estética da indeterminação (CANONNE, 2016), que envolvem conceitos como aleatoriedade (vinculada a música de Pierre Boulez), indeterminação (de John Cage) e música intuitiva (de Karlheinz Stockhausen), os processos composicionais valem-se de elementos estocásticos que aproximam-se da improvisação. Surge</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8a897f720acf448468c65a130b4111ce" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":66265794,"asset_id":46859534,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/66265794/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="46859534"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="46859534"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 46859534; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=46859534]").text(description); $(".js-view-count[data-work-id=46859534]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 46859534; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='46859534']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 46859534, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8a897f720acf448468c65a130b4111ce" } } $('.js-work-strip[data-work-id=46859534]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":46859534,"title":"Mystery and Manners: comprovisação, localidade e cosmopolitismo","translated_title":"","metadata":{"abstract":"Resumo: Este artigo tem como objetivo demonstrar como o álbum Mystery and Manners, do compositor norte-americano John Rapson, está vinculado à estética da comprovisação, e como possui características que remetem às concepções de idiomatismo (BAILEY, 1993) que refletem na produção de uma fantasia de localidade (MASSEY, 1993), pelo viés de uma música cosmopolita (STOKES, 2007). Para tal objetivo, serão realizadas análises sobre as teorias vinculadas à comprovisação, e como a perspectiva notacional de Bhagwati (2013) torna-se uma ferramenta analítica de valor para compreender obras contemporâneas inseridas em tal estética.\n\n Abstract: This paper aims to demonstrate how the album Mystery and Manners, by north american composer John Rapson, is linked to the aesthetics of comprovisation, and how it has characteristics that refer to the conceptions of idiomacity (BAILEY, 1993) that reflects on the production of a fantasy of locality (MASSEY, 1993), by the bias of cosmopolitan music (STOKES, 2007). For this purpose, analyzes will be carried out on the theories related to comprovisation, and how the notational perspective of Bhagwati (2013) becomes an analytical tool of value to understand contemporary works inserted in such aesthetics O termo comprovisação é recorrente em duas vertentes: uma primeira relativa à descrição de práticas musicais contemporâneas que envolvem elementos de dois processos criativos que por muito foram considerados distintos, opostos: a composição e a improvisação. Apesar de a improvisação ser recorrente em todo o processo histórico musical (FERAND, 1961), ela é mascarada da historiografia e da musicologia tradicional (NETTL; RUSSELL, 1998), devido às metodologias aplicadas por tais áreas que focam no produto, no documento, ou seja, na composição e os processos vinculados. 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Para tal objetivo, serão realizadas análises sobre as teorias vinculadas à comprovisação, e como a perspectiva notacional de Bhagwati (2013) torna-se uma ferramenta analítica de valor para compreender obras contemporâneas inseridas em tal estética.\n\n Abstract: This paper aims to demonstrate how the album Mystery and Manners, by north american composer John Rapson, is linked to the aesthetics of comprovisation, and how it has characteristics that refer to the conceptions of idiomacity (BAILEY, 1993) that reflects on the production of a fantasy of locality (MASSEY, 1993), by the bias of cosmopolitan music (STOKES, 2007). For this purpose, analyzes will be carried out on the theories related to comprovisation, and how the notational perspective of Bhagwati (2013) becomes an analytical tool of value to understand contemporary works inserted in such aesthetics O termo comprovisação é recorrente em duas vertentes: uma primeira relativa à descrição de práticas musicais contemporâneas que envolvem elementos de dois processos criativos que por muito foram considerados distintos, opostos: a composição e a improvisação. Apesar de a improvisação ser recorrente em todo o processo histórico musical (FERAND, 1961), ela é mascarada da historiografia e da musicologia tradicional (NETTL; RUSSELL, 1998), devido às metodologias aplicadas por tais áreas que focam no produto, no documento, ou seja, na composição e os processos vinculados. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="46859533"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/46859533/Aliquid_Stat_Pro_Aliquo_cinco_composi%C3%A7%C3%B5es_com_nota%C3%A7%C3%A3o_textual_para_instrumenta%C3%A7%C3%A3o_livre_cria%C3%A7%C3%A3o_e_an%C3%A1lise_de_composi%C3%A7%C3%B5es_com_aberturas_%C3%A0_improvisa%C3%A7%C3%A3o"><img alt="Research paper thumbnail of Aliquid Stat Pro Aliquo: cinco composições com notação textual para instrumentação livre: criação e análise de composições com aberturas à improvisação" class="work-thumbnail" src="https://attachments.academia-assets.com/66265790/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/46859533/Aliquid_Stat_Pro_Aliquo_cinco_composi%C3%A7%C3%B5es_com_nota%C3%A7%C3%A3o_textual_para_instrumenta%C3%A7%C3%A3o_livre_cria%C3%A7%C3%A3o_e_an%C3%A1lise_de_composi%C3%A7%C3%B5es_com_aberturas_%C3%A0_improvisa%C3%A7%C3%A3o">Aliquid Stat Pro Aliquo: cinco composições com notação textual para instrumentação livre: criação e análise de composições com aberturas à improvisação</a></div><div class="wp-workCard_item"><span>Anais do II Congresso Nacional de Música e Matemática</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Neste trabalho foram realizadas análises sobre ideias da criação dentro da música nova, especific...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Neste trabalho foram realizadas análises sobre ideias da criação dentro da música nova, especificamente no campo de composições musicais que possuem uma abertura intrínseca à improvisação musical. Consiste em analisar peças com notações que se adequam a tal abertura e, a partir da análise destas, trabalhar o próprio processo criativo, compondo um conjunto de peas com tal característica. Também será analisada a peça Composition no. 245 do compositor Anthony Braxton, a fim de entender o processo criativo do autor e como funciona a sua notação.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ef82776dcdb9e7cc745c7596ad915cc0" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":66265790,"asset_id":46859533,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/66265790/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="46859533"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="46859533"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 46859533; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=46859533]").text(description); $(".js-view-count[data-work-id=46859533]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 46859533; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='46859533']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 46859533, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "ef82776dcdb9e7cc745c7596ad915cc0" } } $('.js-work-strip[data-work-id=46859533]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":46859533,"title":"Aliquid Stat Pro Aliquo: cinco composições com notação textual para instrumentação livre: criação e análise de composições com aberturas à improvisação","translated_title":"","metadata":{"abstract":"Neste trabalho foram realizadas análises sobre ideias da criação dentro da música nova, especificamente no campo de composições musicais que possuem uma abertura intrínseca à improvisação musical. Consiste em analisar peças com notações que se adequam a tal abertura e, a partir da análise destas, trabalhar o próprio processo criativo, compondo um conjunto de peas com tal característica. Também será analisada a peça Composition no. 245 do compositor Anthony Braxton, a fim de entender o processo criativo do autor e como funciona a sua notação.","publication_date":{"day":null,"month":null,"year":2017,"errors":{}},"publication_name":"Anais do II Congresso Nacional de Música e Matemática"},"translated_abstract":"Neste trabalho foram realizadas análises sobre ideias da criação dentro da música nova, especificamente no campo de composições musicais que possuem uma abertura intrínseca à improvisação musical. Consiste em analisar peças com notações que se adequam a tal abertura e, a partir da análise destas, trabalhar o próprio processo criativo, compondo um conjunto de peas com tal característica. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Master's dissertation" id="Master's dissertation"><h3 class="profile--tab_heading_container">Master's dissertation by Arthur Faraco</h3></div><div class="js-work-strip profile--work_container" data-work-id="46860126"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/46860126/Comprovisa%C3%A7%C3%A3o_Entre_a_Composi%C3%A7%C3%A3o_e_a_Improvisa%C3%A7%C3%A3o_na_Emerg%C3%AAncia_de_Pr%C3%A1ticas_Musicais_Contempor%C3%A2neas"><img alt="Research paper thumbnail of Comprovisação: Entre a Composição e a Improvisação na Emergência de Práticas Musicais Contemporâneas" class="work-thumbnail" src="https://attachments.academia-assets.com/66265950/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/46860126/Comprovisa%C3%A7%C3%A3o_Entre_a_Composi%C3%A7%C3%A3o_e_a_Improvisa%C3%A7%C3%A3o_na_Emerg%C3%AAncia_de_Pr%C3%A1ticas_Musicais_Contempor%C3%A2neas">Comprovisação: Entre a Composição e a Improvisação na Emergência de Práticas Musicais Contemporâneas</a></div><div class="wp-workCard_item"><span>Dissertação de Mestrado - UNICAMP</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Esta pesquisa visa delimitar e ampliar possíveis noções para o que é denominado como comprovisaçã...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Esta pesquisa visa delimitar e ampliar possíveis noções para o que é denominado como comprovisação. O termo, recente na literatura, não possui um consenso, visto que é utilizado a fim de descrever processos criativos que se valem de processos composicionais e improvisatórios. Para delimitarmos estas possíveis definições, realizamos uma revisão histórica das práticas musicais contemporâneas, iniciando-se a partir do século XX com as derivações dos processos criativos a partir das vanguardas artísticas. Nesta revisão, percebemos que descrições de processos criativos- indeterminação, aleatoriedade, música intuitiva, improvisação livre, música experimental, jazz, entre outros - possuem diferenciações que geram debates sobre as relações composição-improvisação e que podem ser consideradas como base para uma compreensão do termo aqui estudado. Em uma revisão bibliográfica sobre as teorias que envolvem a comprovisação, contemplamos<br />duas vertentes: uma que caracteriza a comprovisação como processo criativo que vincula processos interativos mediados por sistemas computacionais ou tecnologias de áudio, e uma segunda que caracteriza comprovisação como um termo abrangente de práticas musicais contemporâneas que envolvem relações composição-improvisação. A partir destas, inferimos nossa visão sobre comprovisação a partir de elementos da performance, ocorrendo então uma interligação do que nomeamos como fluxos da interpretação e da improvisação. Estes fluxos são caracterizados a partir de uma compreensão da música como linguagem recursiva, o que<br />nos dá base para os diferenciarmos e demonstrar como a comprovisação torna-se um “jogo”, no<br />qual o ouvinte não diferencia os elementos composicionais e improvisatórios. Para testarmos tais acepções, realizamos uma análise da peça Nesta Rua Onde Mora Coltrane, do compositor<br />estadunidense John Rapson, que consideramos como representativa de nossa visão sobre comprovisação. Além disto, realizamos um processo criativo experimental a fim de testarmos a hipótese levantada, resultando em quatro peças musicais. Por fim, concluímos que a comprovisação pode ser considerada uma prática musical com características próprias inseridas no contexto da música atual.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c8f4b65dd6da1c5dc03bf96b06510fe4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":66265950,"asset_id":46860126,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/66265950/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="46860126"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="46860126"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 46860126; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=46860126]").text(description); $(".js-view-count[data-work-id=46860126]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 46860126; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='46860126']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 46860126, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c8f4b65dd6da1c5dc03bf96b06510fe4" } } $('.js-work-strip[data-work-id=46860126]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":46860126,"title":"Comprovisação: Entre a Composição e a Improvisação na Emergência de Práticas Musicais Contemporâneas","translated_title":"","metadata":{"abstract":"Esta pesquisa visa delimitar e ampliar possíveis noções para o que é denominado como comprovisação. 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Em uma revisão bibliográfica sobre as teorias que envolvem a comprovisação, contemplamos\nduas vertentes: uma que caracteriza a comprovisação como processo criativo que vincula processos interativos mediados por sistemas computacionais ou tecnologias de áudio, e uma segunda que caracteriza comprovisação como um termo abrangente de práticas musicais contemporâneas que envolvem relações composição-improvisação. A partir destas, inferimos nossa visão sobre comprovisação a partir de elementos da performance, ocorrendo então uma interligação do que nomeamos como fluxos da interpretação e da improvisação. Estes fluxos são caracterizados a partir de uma compreensão da música como linguagem recursiva, o que\nnos dá base para os diferenciarmos e demonstrar como a comprovisação torna-se um “jogo”, no\nqual o ouvinte não diferencia os elementos composicionais e improvisatórios. Para testarmos tais acepções, realizamos uma análise da peça Nesta Rua Onde Mora Coltrane, do compositor\nestadunidense John Rapson, que consideramos como representativa de nossa visão sobre comprovisação. Além disto, realizamos um processo criativo experimental a fim de testarmos a hipótese levantada, resultando em quatro peças musicais. Por fim, concluímos que a comprovisação pode ser considerada uma prática musical com características próprias inseridas no contexto da música atual.","publication_date":{"day":null,"month":null,"year":2020,"errors":{}},"publication_name":"Dissertação de Mestrado - UNICAMP"},"translated_abstract":"Esta pesquisa visa delimitar e ampliar possíveis noções para o que é denominado como comprovisação. O termo, recente na literatura, não possui um consenso, visto que é utilizado a fim de descrever processos criativos que se valem de processos composicionais e improvisatórios. 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Por fim, concluímos que a comprovisação pode ser considerada uma prática musical com características próprias inseridas no contexto da música atual.","internal_url":"https://www.academia.edu/46860126/Comprovisa%C3%A7%C3%A3o_Entre_a_Composi%C3%A7%C3%A3o_e_a_Improvisa%C3%A7%C3%A3o_na_Emerg%C3%AAncia_de_Pr%C3%A1ticas_Musicais_Contempor%C3%A2neas","translated_internal_url":"","created_at":"2021-04-14T07:21:43.875-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":78941794,"coauthors_can_edit":true,"document_type":"thesis_chapter","co_author_tags":[],"downloadable_attachments":[{"id":66265950,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/66265950/thumbnails/1.jpg","file_name":"dissertacao.pdf","download_url":"https://www.academia.edu/attachments/66265950/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Comprovisacao_Entre_a_Composicao_e_a_Imp.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/66265950/dissertacao-libre.pdf?1618411809=\u0026response-content-disposition=attachment%3B+filename%3DComprovisacao_Entre_a_Composicao_e_a_Imp.pdf\u0026Expires=1733314779\u0026Signature=B4wJHJ0Zq8~E9pSun41ysR41e22ABxiP3xL6u0tHZ~jhvyocaXXjRUTGnlZjrqKXRkes3ZJR24kck7b6MBvYpG3aQFiRCkx7d4eu7~gSPeZk1VKRp-41UiNdsSUV6yfmzIEUHatxmFZ-o~2LHUxKLkBPsIYEr36YiH025J-qrD1a~VeZz9JtxRlJIw9fOIdMaSeLbxtshztleyZeNF3CfcHVa4J7WKAxqOh2lhzKkHdNSK8pb1~yqPjnnOSf2bvlNHlviLzxvM5fW1LDjMPLoAD46XwYTihPiWQWkTImTXehSP5IMjdIs2t1zDLRnFSEjsbk6~KZpmUGfyJJB~dXCg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Comprovisação_Entre_a_Composição_e_a_Improvisação_na_Emergência_de_Práticas_Musicais_Contemporâneas","translated_slug":"","page_count":262,"language":"pt","content_type":"Work","owner":{"id":78941794,"first_name":"Arthur","middle_initials":null,"last_name":"Faraco","page_name":"ArthurFaraco","domain_name":"fflch","created_at":"2018-03-19T11:42:48.350-07:00","display_name":"Arthur Faraco","url":"https://fflch.academia.edu/ArthurFaraco"},"attachments":[{"id":66265950,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/66265950/thumbnails/1.jpg","file_name":"dissertacao.pdf","download_url":"https://www.academia.edu/attachments/66265950/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Comprovisacao_Entre_a_Composicao_e_a_Imp.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/66265950/dissertacao-libre.pdf?1618411809=\u0026response-content-disposition=attachment%3B+filename%3DComprovisacao_Entre_a_Composicao_e_a_Imp.pdf\u0026Expires=1733314779\u0026Signature=B4wJHJ0Zq8~E9pSun41ysR41e22ABxiP3xL6u0tHZ~jhvyocaXXjRUTGnlZjrqKXRkes3ZJR24kck7b6MBvYpG3aQFiRCkx7d4eu7~gSPeZk1VKRp-41UiNdsSUV6yfmzIEUHatxmFZ-o~2LHUxKLkBPsIYEr36YiH025J-qrD1a~VeZz9JtxRlJIw9fOIdMaSeLbxtshztleyZeNF3CfcHVa4J7WKAxqOh2lhzKkHdNSK8pb1~yqPjnnOSf2bvlNHlviLzxvM5fW1LDjMPLoAD46XwYTihPiWQWkTImTXehSP5IMjdIs2t1zDLRnFSEjsbk6~KZpmUGfyJJB~dXCg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":22809,"name":"Free Improvisation","url":"https://www.academia.edu/Documents/in/Free_Improvisation"},{"id":53278,"name":"Music Improvisation","url":"https://www.academia.edu/Documents/in/Music_Improvisation"},{"id":507942,"name":"Improvisation / comprovisation","url":"https://www.academia.edu/Documents/in/Improvisation_comprovisation"},{"id":2917039,"name":"comprovisation","url":"https://www.academia.edu/Documents/in/comprovisation"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="11078881" id="papers"><div class="js-work-strip profile--work_container" data-work-id="122726430"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/122726430/Listening_Behaviors_and_Musical_Coordination_in_Collective_Free_Improvisation"><img alt="Research paper thumbnail of Listening Behaviors and Musical Coordination in Collective Free Improvisation" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/122726430/Listening_Behaviors_and_Musical_Coordination_in_Collective_Free_Improvisation">Listening Behaviors and Musical Coordination in Collective Free Improvisation</a></div><div class="wp-workCard_item"><span>Music & science</span><span>, 2024</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="122726430"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="122726430"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 122726430; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="113387896"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/113387896/Perception_of_Structure_in_Collective_Free_Improvisation_and_its_Context_Dependency_An_Exploratory_Analysis"><img alt="Research paper thumbnail of Perception of Structure in Collective Free Improvisation and its Context Dependency: An Exploratory Analysis" class="work-thumbnail" src="https://attachments.academia-assets.com/110359005/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/113387896/Perception_of_Structure_in_Collective_Free_Improvisation_and_its_Context_Dependency_An_Exploratory_Analysis">Perception of Structure in Collective Free Improvisation and its Context Dependency: An Exploratory Analysis</a></div><div class="wp-workCard_item"><span>Empirical Musicology Review</span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This paper explores the hypothesis that similar structural notions can arise in different creativ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This paper explores the hypothesis that similar structural notions can arise in different creative contexts, such as free improvisation and contemporary composition. Participants segmented a recorded improvisation into sequences based on personal criteria. Two groups were given different contexts: one group was informed the piece was a free improvisation, while the other was told it was a contemporary composition. Each participant analyzed one of 10 recordings. We aligned the segmentations by looking for overlaps within a specific time frame, Δt, considering segments simultaneous if they occurred within [t-Δt; t + Δt] of each other. Results indicated a high degree of similarity in perceived structure: 64% of segments overlapped within a 5-second frame, and 71% within 10 seconds. Additionally, the study found variations in the total number of segments and a correlation between sequence duration and the number of instruments used in the piece. These findings suggest that despite different contexts, there is a comparable perception of structural elements in musical pieces.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6030937c861d138dae1f487895ca3f59" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":110359005,"asset_id":113387896,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/110359005/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="113387896"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="113387896"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 113387896; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=113387896]").text(description); $(".js-view-count[data-work-id=113387896]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 113387896; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='113387896']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 113387896, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "6030937c861d138dae1f487895ca3f59" } } $('.js-work-strip[data-work-id=113387896]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":113387896,"title":"Perception of Structure in Collective Free Improvisation and its Context Dependency: An Exploratory Analysis","translated_title":"","metadata":{"doi":"10.18061/emr.v18i1.8875","abstract":"This paper explores the hypothesis that similar structural notions can arise in different creative contexts, such as free improvisation and contemporary composition. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="74262051"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/74262051/Ins%C3%ADgnia_Escafandro_S%C3%A1tira_e_Locus_An%C3%A1lise_De_Processos_Criativos_Em_Comprovisa%C3%A7%C3%A3o"><img alt="Research paper thumbnail of Insígnia, Escafandro, Sátira e Locus: Análise De Processos Criativos Em Comprovisação" class="work-thumbnail" src="https://attachments.academia-assets.com/82473922/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/74262051/Ins%C3%ADgnia_Escafandro_S%C3%A1tira_e_Locus_An%C3%A1lise_De_Processos_Criativos_Em_Comprovisa%C3%A7%C3%A3o">Insígnia, Escafandro, Sátira e Locus: Análise De Processos Criativos Em Comprovisação</a></div><div class="wp-workCard_item"><span>Orfeu</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Nosso objeto de análise neste artigo é o conjunto de peças insígnia, escafandro, sátira e locus, ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Nosso objeto de análise neste artigo é o conjunto de peças insígnia, escafandro, sátira e locus, criadas pelo autor. Estas são consideradas como experimentos em comprovisação, devido às características de seus processos criativos. Comprovisação, como um termo recente na literatura, não há até o momento um consenso; por isto, reunimos aqui possíveis antecedentes, as noções sobre e práticas que buscam na comprovisação sua caracterização. Distinguimos duas vertentes teóricas sobre o assunto, e realizamos considerações próprias almejando uma compreensão do termo a partir de uma interligação os fluxos de interpretação e improvisação – estes vinculados a noções de processos generativos da performance e da compreensão de Falleiros (2012) sobre o pacto. Por meio de ferramentas tradicionais de análise, e da perspectiva notacional de Bhagwati (2013), acreditamos que a ressignificação dos gestos improvisados existentes nas peças analisadas aponta para a compreensão destas como experimentos em...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2b0d1edbaa31c8241995ac9e9835bce4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":82473922,"asset_id":74262051,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/82473922/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="74262051"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="74262051"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 74262051; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=74262051]").text(description); $(".js-view-count[data-work-id=74262051]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 74262051; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='74262051']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 74262051, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2b0d1edbaa31c8241995ac9e9835bce4" } } $('.js-work-strip[data-work-id=74262051]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":74262051,"title":"Insígnia, Escafandro, Sátira e Locus: Análise De Processos Criativos Em Comprovisação","translated_title":"","metadata":{"abstract":"Nosso objeto de análise neste artigo é o conjunto de peças insígnia, escafandro, sátira e locus, criadas pelo autor. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="66970522"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/66970522/Livre_improvisa%C3%A7%C3%A3o_coletiva_em_contextos_educacionais_ferramenta_ou_objetivo"><img alt="Research paper thumbnail of Livre improvisação coletiva em contextos educacionais: ferramenta ou objetivo?" class="work-thumbnail" src="https://attachments.academia-assets.com/77967037/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/66970522/Livre_improvisa%C3%A7%C3%A3o_coletiva_em_contextos_educacionais_ferramenta_ou_objetivo">Livre improvisação coletiva em contextos educacionais: ferramenta ou objetivo?</a></div><div class="wp-workCard_item"><span>XXXI Congresso Nacional da ANPPOM</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Neste texto buscaremos fundamentar a hipótese que a prática da livre improvisação não deve ser to...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Neste texto buscaremos fundamentar a hipótese que a prática da livre improvisação não deve ser tomada, em contextos educacionais, apenas como uma ferramenta didática a fim da compreensão de outros conceitos musicais (muitas vezes considerados de maior "valor"), mas sim como um objetivo em si mesmaa partir da apreensão das características da prática e da performance. Nos fundamentamos aqui na visão de uma educação para a criatividade, já bem delimitada na literatura sobre educação musical. Abordaremos também aspectos sobre aprendizagem a partir de um viés cognitivo e como a livre improvisação possui a característica de uma prática musical que permite uma atenção específica à tarefa, e não a uma peça. Concluímos que, em um contexto no qual as Universidades brasileiras inserem em suas grades curriculares disciplinas que valorizam a prática musical coletiva, a livre improvisação deve ser abordada não apenas como uma possível ferramenta para a aprendizagem de conceitos ou uma "iniciação" à improvisação, mas sim como uma prática artística com características peculiares e que possui um modo de fazer específico.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2c74639e9265b2fff777fd4c6e72800f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":77967037,"asset_id":66970522,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/77967037/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="66970522"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="66970522"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 66970522; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=66970522]").text(description); $(".js-view-count[data-work-id=66970522]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 66970522; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='66970522']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 66970522, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2c74639e9265b2fff777fd4c6e72800f" } } $('.js-work-strip[data-work-id=66970522]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":66970522,"title":"Livre improvisação coletiva em contextos educacionais: ferramenta ou objetivo?","translated_title":"","metadata":{"abstract":"Neste texto buscaremos fundamentar a hipótese que a prática da livre improvisação não deve ser tomada, em contextos educacionais, apenas como uma ferramenta didática a fim da compreensão de outros conceitos musicais (muitas vezes considerados de maior \"valor\"), mas sim como um objetivo em si mesmaa partir da apreensão das características da prática e da performance. 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Concluímos que, em um contexto no qual as Universidades brasileiras inserem em suas grades curriculares disciplinas que valorizam a prática musical coletiva, a livre improvisação deve ser abordada não apenas como uma possível ferramenta para a aprendizagem de conceitos ou uma \"iniciação\" à improvisação, mas sim como uma prática artística com características peculiares e que possui um modo de fazer específico.","publication_date":{"day":null,"month":null,"year":2021,"errors":{}},"publication_name":"XXXI Congresso Nacional da ANPPOM"},"translated_abstract":"Neste texto buscaremos fundamentar a hipótese que a prática da livre improvisação não deve ser tomada, em contextos educacionais, apenas como uma ferramenta didática a fim da compreensão de outros conceitos musicais (muitas vezes considerados de maior \"valor\"), mas sim como um objetivo em si mesmaa partir da apreensão das características da prática e da performance. Nos fundamentamos aqui na visão de uma educação para a criatividade, já bem delimitada na literatura sobre educação musical. Abordaremos também aspectos sobre aprendizagem a partir de um viés cognitivo e como a livre improvisação possui a característica de uma prática musical que permite uma atenção específica à tarefa, e não a uma peça. Concluímos que, em um contexto no qual as Universidades brasileiras inserem em suas grades curriculares disciplinas que valorizam a prática musical coletiva, a livre improvisação deve ser abordada não apenas como uma possível ferramenta para a aprendizagem de conceitos ou uma \"iniciação\" à improvisação, mas sim como uma prática artística com características peculiares e que possui um modo de fazer específico.","internal_url":"https://www.academia.edu/66970522/Livre_improvisa%C3%A7%C3%A3o_coletiva_em_contextos_educacionais_ferramenta_ou_objetivo","translated_internal_url":"","created_at":"2022-01-03T11:07:40.811-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":78941794,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":77967037,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/77967037/thumbnails/1.jpg","file_name":"740_4039_1_PB.pdf","download_url":"https://www.academia.edu/attachments/77967037/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Livre_improvisacao_coletiva_em_contextos.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/77967037/740_4039_1_PB-libre.pdf?1641240769=\u0026response-content-disposition=attachment%3B+filename%3DLivre_improvisacao_coletiva_em_contextos.pdf\u0026Expires=1733314779\u0026Signature=CWiHmlz~eqTXM5x4~WxvmX2Pdish6v2Fg~pX1v0EeNhUbz1JyZjXVunrdKcYH9jNcnJTgKycuMbDJzNy8gPlMEAPV25f~9Vr~Tz0BLY2rNHwCNAP-qP8Bv8Sp-uzErLN6qm4jw03q06-OmktHx42azOpeid8xqZwQRDteVsUFN-RTtDkJ38zyxPW03-UIGnlZNdc~~r3Pm9VlMsNt1K~NPmyUFR0gmB3WrKQG9RuH0UbPpG1eBBYBCgFYG3VtSD3Yr~WVOTwYF5nbiCVBiwecnQygLLciHYN8ZYS5k46aqdc9cvEoX1lpREEdu7FHFDg7LpXEY59ltTF9IlpkOobnw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Livre_improvisação_coletiva_em_contextos_educacionais_ferramenta_ou_objetivo","translated_slug":"","page_count":9,"language":"pt","content_type":"Work","owner":{"id":78941794,"first_name":"Arthur","middle_initials":null,"last_name":"Faraco","page_name":"ArthurFaraco","domain_name":"fflch","created_at":"2018-03-19T11:42:48.350-07:00","display_name":"Arthur Faraco","url":"https://fflch.academia.edu/ArthurFaraco"},"attachments":[{"id":77967037,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/77967037/thumbnails/1.jpg","file_name":"740_4039_1_PB.pdf","download_url":"https://www.academia.edu/attachments/77967037/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Livre_improvisacao_coletiva_em_contextos.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/77967037/740_4039_1_PB-libre.pdf?1641240769=\u0026response-content-disposition=attachment%3B+filename%3DLivre_improvisacao_coletiva_em_contextos.pdf\u0026Expires=1733314779\u0026Signature=CWiHmlz~eqTXM5x4~WxvmX2Pdish6v2Fg~pX1v0EeNhUbz1JyZjXVunrdKcYH9jNcnJTgKycuMbDJzNy8gPlMEAPV25f~9Vr~Tz0BLY2rNHwCNAP-qP8Bv8Sp-uzErLN6qm4jw03q06-OmktHx42azOpeid8xqZwQRDteVsUFN-RTtDkJ38zyxPW03-UIGnlZNdc~~r3Pm9VlMsNt1K~NPmyUFR0gmB3WrKQG9RuH0UbPpG1eBBYBCgFYG3VtSD3Yr~WVOTwYF5nbiCVBiwecnQygLLciHYN8ZYS5k46aqdc9cvEoX1lpREEdu7FHFDg7LpXEY59ltTF9IlpkOobnw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education"},{"id":53278,"name":"Music Improvisation","url":"https://www.academia.edu/Documents/in/Music_Improvisation"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="51316942"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/51316942/Perception_of_a_Comprovisation_The_Ambiguity_of_Listening_to_a_Composed_Musical_Piece_Derived_from_Improvisational_Material"><img alt="Research paper thumbnail of Perception of a Comprovisation: The Ambiguity of Listening to a Composed Musical Piece Derived from Improvisational Material" class="work-thumbnail" src="https://attachments.academia-assets.com/69089551/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/51316942/Perception_of_a_Comprovisation_The_Ambiguity_of_Listening_to_a_Composed_Musical_Piece_Derived_from_Improvisational_Material">Perception of a Comprovisation: The Ambiguity of Listening to a Composed Musical Piece Derived from Improvisational Material</a></div><div class="wp-workCard_item"><span>Opus, vol. 27, n. 2</span><span>, 2021</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">In this paper, we aim to reproduce and expand on some of the empirical experiments that have been...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">In this paper, we aim to reproduce and expand on some of the empirical experiments that have been used to address the aesthetics of listening to improvised music. We focus on a piece of music that we consider to be a comprovisation, a term used for music that is a blend of composition and improvisation. The responses offered by the participants in our experiment were somewhat ambiguous, as there was no clear consensus in regard to the suggested musical form or the quality of judgments about the compositional and improvisational aspects of the piece. The piece used for the empirical experiment was based on a free improvisation of two Brazilian musicians: Vinicius Dorin on soprano saxophone and Nenê on drums. The music was further reorganized (by means of digital audio edition) and orchestrated by American composer John Rapson. The final phonogram represents an interpretation of the composer's improvisation, but it still reflects the improvisational characteristics of the primary material. Our method is based on Canonne's (2018) empirical experiments, which departs from an analysis based on the grounded theory approach of multiple comparison. Our method is also based on the vision of the contextual information's influence on subjective evaluations (Anglada-Tort, 2018). We separated the participants into musicians and non-musicians, and then divided them into three groups, giving each group a different informational context. Despite using a small sample of participants and a qualitative analysis, we believe that the results show how ambiguity can exist among listeners who are exposed to music without any context information. However, because this research is a first step, we cannot generalize the results. In the future, we believe that this kind of experiment could be expanded to confirm our primary data.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1c23f0f9bbf92886ca93121ae7d78d95" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":69089551,"asset_id":51316942,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/69089551/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="51316942"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="51316942"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 51316942; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=51316942]").text(description); $(".js-view-count[data-work-id=51316942]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 51316942; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='51316942']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 51316942, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1c23f0f9bbf92886ca93121ae7d78d95" } } $('.js-work-strip[data-work-id=51316942]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":51316942,"title":"Perception of a Comprovisation: The Ambiguity of Listening to a Composed Musical Piece Derived from Improvisational Material","translated_title":"","metadata":{"abstract":"In this paper, we aim to reproduce and expand on some of the empirical experiments that have been used to address the aesthetics of listening to improvised music. We focus on a piece of music that we consider to be a comprovisation, a term used for music that is a blend of composition and improvisation. The responses offered by the participants in our experiment were somewhat ambiguous, as there was no clear consensus in regard to the suggested musical form or the quality of judgments about the compositional and improvisational aspects of the piece. The piece used for the empirical experiment was based on a free improvisation of two Brazilian musicians: Vinicius Dorin on soprano saxophone and Nenê on drums. The music was further reorganized (by means of digital audio edition) and orchestrated by American composer John Rapson. The final phonogram represents an interpretation of the composer's improvisation, but it still reflects the improvisational characteristics of the primary material. Our method is based on Canonne's (2018) empirical experiments, which departs from an analysis based on the grounded theory approach of multiple comparison. Our method is also based on the vision of the contextual information's influence on subjective evaluations (Anglada-Tort, 2018). We separated the participants into musicians and non-musicians, and then divided them into three groups, giving each group a different informational context. Despite using a small sample of participants and a qualitative analysis, we believe that the results show how ambiguity can exist among listeners who are exposed to music without any context information. However, because this research is a first step, we cannot generalize the results. In the future, we believe that this kind of experiment could be expanded to confirm our primary data.","publication_date":{"day":null,"month":null,"year":2021,"errors":{}},"publication_name":"Opus, vol. 27, n. 2"},"translated_abstract":"In this paper, we aim to reproduce and expand on some of the empirical experiments that have been used to address the aesthetics of listening to improvised music. We focus on a piece of music that we consider to be a comprovisation, a term used for music that is a blend of composition and improvisation. The responses offered by the participants in our experiment were somewhat ambiguous, as there was no clear consensus in regard to the suggested musical form or the quality of judgments about the compositional and improvisational aspects of the piece. The piece used for the empirical experiment was based on a free improvisation of two Brazilian musicians: Vinicius Dorin on soprano saxophone and Nenê on drums. The music was further reorganized (by means of digital audio edition) and orchestrated by American composer John Rapson. The final phonogram represents an interpretation of the composer's improvisation, but it still reflects the improvisational characteristics of the primary material. Our method is based on Canonne's (2018) empirical experiments, which departs from an analysis based on the grounded theory approach of multiple comparison. Our method is also based on the vision of the contextual information's influence on subjective evaluations (Anglada-Tort, 2018). We separated the participants into musicians and non-musicians, and then divided them into three groups, giving each group a different informational context. Despite using a small sample of participants and a qualitative analysis, we believe that the results show how ambiguity can exist among listeners who are exposed to music without any context information. However, because this research is a first step, we cannot generalize the results. In the future, we believe that this kind of experiment could be expanded to confirm our primary data.","internal_url":"https://www.academia.edu/51316942/Perception_of_a_Comprovisation_The_Ambiguity_of_Listening_to_a_Composed_Musical_Piece_Derived_from_Improvisational_Material","translated_internal_url":"","created_at":"2021-09-05T15:13:18.241-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":78941794,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":69089551,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/69089551/thumbnails/1.jpg","file_name":"perception_of_comprovisation_faraco.pdf","download_url":"https://www.academia.edu/attachments/69089551/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Perception_of_a_Comprovisation_The_Ambig.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/69089551/perception_of_comprovisation_faraco-libre.pdf?1630881625=\u0026response-content-disposition=attachment%3B+filename%3DPerception_of_a_Comprovisation_The_Ambig.pdf\u0026Expires=1733314779\u0026Signature=aqB5ixNYh48SfSxAn5Omlhxzbfawx5yiKFkTZjcSMvwekBLbcaoU~mzFUJpKDoC9omEsB3JpUluA~1~tOdItIFV-G6hWK4oWgsH0TByLqojHXNE~QT-kS9wF9H5dqqBtcNDLPQaijR31CriRXrYvTL~BAprcdOKhrlrLUxZ2Sox24FVNTyhLETAwbbnwpfJw4aIOoWmxvN1qziPK2Bd0OEhWPHO3JjvQzgHV2vDWtaJf-ZTkoqs5ktXCIOzQqfReBs5rWxc5gUtI4jURf7AWtsWVsXKaTc~Eo-HIE5HHmD5loQfolFdDLUT4zB7B84a3lpEsvMWWqEnOIQ7BWauLWw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Perception_of_a_Comprovisation_The_Ambiguity_of_Listening_to_a_Composed_Musical_Piece_Derived_from_Improvisational_Material","translated_slug":"","page_count":27,"language":"en","content_type":"Work","owner":{"id":78941794,"first_name":"Arthur","middle_initials":null,"last_name":"Faraco","page_name":"ArthurFaraco","domain_name":"fflch","created_at":"2018-03-19T11:42:48.350-07:00","display_name":"Arthur Faraco","url":"https://fflch.academia.edu/ArthurFaraco"},"attachments":[{"id":69089551,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/69089551/thumbnails/1.jpg","file_name":"perception_of_comprovisation_faraco.pdf","download_url":"https://www.academia.edu/attachments/69089551/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Perception_of_a_Comprovisation_The_Ambig.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/69089551/perception_of_comprovisation_faraco-libre.pdf?1630881625=\u0026response-content-disposition=attachment%3B+filename%3DPerception_of_a_Comprovisation_The_Ambig.pdf\u0026Expires=1733314779\u0026Signature=aqB5ixNYh48SfSxAn5Omlhxzbfawx5yiKFkTZjcSMvwekBLbcaoU~mzFUJpKDoC9omEsB3JpUluA~1~tOdItIFV-G6hWK4oWgsH0TByLqojHXNE~QT-kS9wF9H5dqqBtcNDLPQaijR31CriRXrYvTL~BAprcdOKhrlrLUxZ2Sox24FVNTyhLETAwbbnwpfJw4aIOoWmxvN1qziPK2Bd0OEhWPHO3JjvQzgHV2vDWtaJf-ZTkoqs5ktXCIOzQqfReBs5rWxc5gUtI4jURf7AWtsWVsXKaTc~Eo-HIE5HHmD5loQfolFdDLUT4zB7B84a3lpEsvMWWqEnOIQ7BWauLWw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":22809,"name":"Free Improvisation","url":"https://www.academia.edu/Documents/in/Free_Improvisation"},{"id":53278,"name":"Music Improvisation","url":"https://www.academia.edu/Documents/in/Music_Improvisation"},{"id":507942,"name":"Improvisation / comprovisation","url":"https://www.academia.edu/Documents/in/Improvisation_comprovisation"},{"id":983741,"name":"Musical Perception","url":"https://www.academia.edu/Documents/in/Musical_Perception"}],"urls":[]}, dispatcherData: dispatcherData }); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="46859537"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/46859537/Comprovisa%C3%A7%C3%A3o_no%C3%A7%C3%B5es_sua_contextualiza%C3%A7%C3%A3o_no_regime_est%C3%A9tico_das_artes_e_a_abordagem_pela_recursividade"><img alt="Research paper thumbnail of Comprovisação: noções, sua contextualização no regime estético das artes e a abordagem pela recursividade" class="work-thumbnail" src="https://attachments.academia-assets.com/66265793/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/46859537/Comprovisa%C3%A7%C3%A3o_no%C3%A7%C3%B5es_sua_contextualiza%C3%A7%C3%A3o_no_regime_est%C3%A9tico_das_artes_e_a_abordagem_pela_recursividade">Comprovisação: noções, sua contextualização no regime estético das artes e a abordagem pela recursividade</a></div><div class="wp-workCard_item"><span>Anais do SIMPOM </span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Resumo: Este artigo tem como objetivo versar sobre noções de comprovisação e propor uma nova abor...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Resumo: Este artigo tem como objetivo versar sobre noções de comprovisação e propor uma nova abordagem para complementarmos sua compreensão. O termo, utilizado recentemente na literatura, não possui um consenso conceitual. Iremos, portanto, abordar as vertentes teóricas e as definições existentes em autores como Hannan (2006), Dudas (2010), Mailman (2013) e Bhagwati (2011), assim como exemplos práticos de obras comprovisadas, porém, com um viés crítico, a partir de uma análise sobre os fluxos da interpretação e da improvisação. Consideramos a comprovisação como prática inserida no que Rancière (2005) considera como regime estético das artes, e que tem como base uma equiparação de processos composicionais e improvisatórios e uma possível autonomia do intérprete. Para nossa abordagem, recorreremos ao conceito de recursividade, este derivado da linguística, por meio da compreensão da improvisação como um processo autorreferente, e das diferentes operações de recursão existentes no processo composicional e improvisatório. <br /><br />Abstract: This article aims to address notions of comprovisation and propose a new approach to complement its understanding. The term, recently used in the literature, does not have a conceptual consensus. We will, therefore, address the theoretical aspects and the existing definitions, in authors such as Hannan (2006), Dudas (2010), Mailman (2013) and Bhagwati (2011), as well as practical examples of comprovisational works. However with a critical bias, from an analysis of the flows of interpretation and improvisation. We consider comprovisation as a practice inserted in what Rancière (2005) considers as the aesthetic regime of the arts, and which is based on an equalization of compositional and improvisational processes, considering the values of these "traditions" and the possible autonomy of the performer. For our approach, we will resort to the concept of recursion, this derived from linguistics, through the understanding of improvisation as a self-referential process, and the different recursion operations that exist in the compositional and improvisational process.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="58b4eec2e897acae6c0916bd585bb276" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":66265793,"asset_id":46859537,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/66265793/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="46859537"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="46859537"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 46859537; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=46859537]").text(description); $(".js-view-count[data-work-id=46859537]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 46859537; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='46859537']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 46859537, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "58b4eec2e897acae6c0916bd585bb276" } } $('.js-work-strip[data-work-id=46859537]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":46859537,"title":"Comprovisação: noções, sua contextualização no regime estético das artes e a abordagem pela recursividade","translated_title":"","metadata":{"abstract":"Resumo: Este artigo tem como objetivo versar sobre noções de comprovisação e propor uma nova abordagem para complementarmos sua compreensão. 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The term, recently used in the literature, does not have a conceptual consensus. We will, therefore, address the theoretical aspects and the existing definitions, in authors such as Hannan (2006), Dudas (2010), Mailman (2013) and Bhagwati (2011), as well as practical examples of comprovisational works. However with a critical bias, from an analysis of the flows of interpretation and improvisation. We consider comprovisation as a practice inserted in what Rancière (2005) considers as the aesthetic regime of the arts, and which is based on an equalization of compositional and improvisational processes, considering the values of these \"traditions\" and the possible autonomy of the performer. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="46859536"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/46859536/Reflex%C3%B5es_sobre_as_no%C3%A7%C3%B5es_de_emerg%C3%AAncia_e_complexidade_na_livre_improvisa%C3%A7%C3%A3o_coletiva"><img alt="Research paper thumbnail of Reflexões sobre as noções de emergência e complexidade na livre improvisação coletiva" class="work-thumbnail" src="https://attachments.academia-assets.com/66265791/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/46859536/Reflex%C3%B5es_sobre_as_no%C3%A7%C3%B5es_de_emerg%C3%AAncia_e_complexidade_na_livre_improvisa%C3%A7%C3%A3o_coletiva">Reflexões sobre as noções de emergência e complexidade na livre improvisação coletiva</a></div><div class="wp-workCard_item"><span>Anais do XXX Congresso da ANPPOM - Associação Nacional de Pesquisa e Pós-Graduação</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Buscaremos neste artigo realizar um levantamento bibliográfico sobre a compreensão da Livre Impro...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Buscaremos neste artigo realizar um levantamento bibliográfico sobre a compreensão da Livre Improvisação Coletiva como um sistema complexo ou emergente. Nosso objetivo é demonstrar como esta compreensão, sendo atualmente testada empiricamente por Canonne e<br />Garnier (2011; 2015), tem como foco a descrição de possíveis modelos para a prática musical mencionada. Estes modelos partem de fundamentos da cognição musical; compararemos, portanto, os modelos de improvisação de Pressing (1988), Clarke (2001) e Canonne e Garnier (2011), a fim de demonstrar que a emergência, ou a auto-organização na Livre Improvisação Coletiva pode ser considerada como um elemento hierárquico ou recursivo na performance, tornando-se portanto um referente temporário, hipótese levantada por Costa e Schaub (2013).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="cb51629e6699122d2ef5298c881590a3" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":66265791,"asset_id":46859536,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/66265791/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="46859536"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="46859536"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 46859536; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=46859536]").text(description); $(".js-view-count[data-work-id=46859536]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 46859536; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='46859536']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 46859536, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "cb51629e6699122d2ef5298c881590a3" } } $('.js-work-strip[data-work-id=46859536]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":46859536,"title":"Reflexões sobre as noções de emergência e complexidade na livre improvisação coletiva","translated_title":"","metadata":{"abstract":"Buscaremos neste artigo realizar um levantamento bibliográfico sobre a compreensão da Livre Improvisação Coletiva como um sistema complexo ou emergente. Nosso objetivo é demonstrar como esta compreensão, sendo atualmente testada empiricamente por Canonne e\nGarnier (2011; 2015), tem como foco a descrição de possíveis modelos para a prática musical mencionada. Estes modelos partem de fundamentos da cognição musical; compararemos, portanto, os modelos de improvisação de Pressing (1988), Clarke (2001) e Canonne e Garnier (2011), a fim de demonstrar que a emergência, ou a auto-organização na Livre Improvisação Coletiva pode ser considerada como um elemento hierárquico ou recursivo na performance, tornando-se portanto um referente temporário, hipótese levantada por Costa e Schaub (2013).","publication_date":{"day":null,"month":null,"year":2020,"errors":{}},"publication_name":"Anais do XXX Congresso da ANPPOM - Associação Nacional de Pesquisa e Pós-Graduação"},"translated_abstract":"Buscaremos neste artigo realizar um levantamento bibliográfico sobre a compreensão da Livre Improvisação Coletiva como um sistema complexo ou emergente. Nosso objetivo é demonstrar como esta compreensão, sendo atualmente testada empiricamente por Canonne e\nGarnier (2011; 2015), tem como foco a descrição de possíveis modelos para a prática musical mencionada. Estes modelos partem de fundamentos da cognição musical; compararemos, portanto, os modelos de improvisação de Pressing (1988), Clarke (2001) e Canonne e Garnier (2011), a fim de demonstrar que a emergência, ou a auto-organização na Livre Improvisação Coletiva pode ser considerada como um elemento hierárquico ou recursivo na performance, tornando-se portanto um referente temporário, hipótese levantada por Costa e Schaub (2013).","internal_url":"https://www.academia.edu/46859536/Reflex%C3%B5es_sobre_as_no%C3%A7%C3%B5es_de_emerg%C3%AAncia_e_complexidade_na_livre_improvisa%C3%A7%C3%A3o_coletiva","translated_internal_url":"","created_at":"2021-04-14T07:02:53.825-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":78941794,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":66265791,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/66265791/thumbnails/1.jpg","file_name":"improvisacao_livre_complexidade.pdf","download_url":"https://www.academia.edu/attachments/66265791/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Reflexoes_sobre_as_nocoes_de_emergencia.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/66265791/improvisacao_livre_complexidade-libre.pdf?1618411770=\u0026response-content-disposition=attachment%3B+filename%3DReflexoes_sobre_as_nocoes_de_emergencia.pdf\u0026Expires=1733314779\u0026Signature=eraL~3U6OktdyIfBWpJmSg9SUcEzyaLfOPGblBknTO4hK5lQqUMWt0oSE7CAQSE08pE0lROKX6ydmSk0pjM55eLS7cizHtJdd95QA50MxUOk1l1b5LqwtnLpZnZOU5qUryLwgTbZIfUbsgu2ZyXs9lAhr0wV~q9VgXOS2tnmKEV6TRaQ1A4LQU1uhvAhNxk3PXYkbu0E2uR5EnxYEU5164wiq8cZn9IqQmwBEdtUJejiT4XujHvsu7LrWpm7lgi6PwW-28dcW2PIgjEqkSZhPRiNbsBGujhsWN6ecnTjuPdMzFRn5pg9YKiP9wsC17mm7T7auODczsgQpnxSi8D3aA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Reflexões_sobre_as_noções_de_emergência_e_complexidade_na_livre_improvisação_coletiva","translated_slug":"","page_count":10,"language":"pt","content_type":"Work","owner":{"id":78941794,"first_name":"Arthur","middle_initials":null,"last_name":"Faraco","page_name":"ArthurFaraco","domain_name":"fflch","created_at":"2018-03-19T11:42:48.350-07:00","display_name":"Arthur Faraco","url":"https://fflch.academia.edu/ArthurFaraco"},"attachments":[{"id":66265791,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/66265791/thumbnails/1.jpg","file_name":"improvisacao_livre_complexidade.pdf","download_url":"https://www.academia.edu/attachments/66265791/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Reflexoes_sobre_as_nocoes_de_emergencia.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/66265791/improvisacao_livre_complexidade-libre.pdf?1618411770=\u0026response-content-disposition=attachment%3B+filename%3DReflexoes_sobre_as_nocoes_de_emergencia.pdf\u0026Expires=1733314779\u0026Signature=eraL~3U6OktdyIfBWpJmSg9SUcEzyaLfOPGblBknTO4hK5lQqUMWt0oSE7CAQSE08pE0lROKX6ydmSk0pjM55eLS7cizHtJdd95QA50MxUOk1l1b5LqwtnLpZnZOU5qUryLwgTbZIfUbsgu2ZyXs9lAhr0wV~q9VgXOS2tnmKEV6TRaQ1A4LQU1uhvAhNxk3PXYkbu0E2uR5EnxYEU5164wiq8cZn9IqQmwBEdtUJejiT4XujHvsu7LrWpm7lgi6PwW-28dcW2PIgjEqkSZhPRiNbsBGujhsWN6ecnTjuPdMzFRn5pg9YKiP9wsC17mm7T7auODczsgQpnxSi8D3aA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="46859535"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/46859535/An%C3%A1lise_da_pe%C3%A7a_%C3%A0_deriva_sob_a_perspectiva_da_comprovisa%C3%A7%C3%A3o_como_pr%C3%A1tica_experimental"><img alt="Research paper thumbnail of Análise da peça ``à deriva'' sob a perspectiva da comprovisação como prática experimental" class="work-thumbnail" src="https://attachments.academia-assets.com/66265792/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/46859535/An%C3%A1lise_da_pe%C3%A7a_%C3%A0_deriva_sob_a_perspectiva_da_comprovisa%C3%A7%C3%A3o_como_pr%C3%A1tica_experimental">Análise da peça ``à deriva'' sob a perspectiva da comprovisação como prática experimental</a></div><div class="wp-workCard_item"><span>Anais do EITAM 5 - Encontro Internacional de Teoria e Análise Musical</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Neste artigo realizaremos uma análise a partir da peça "à deriva", na qual ocorreu um processo cr...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Neste artigo realizaremos uma análise a partir da peça "à deriva", na qual ocorreu um processo criativo que relaciona-se com o conceito de comprovisação. É proposto um quadro metodológico analítico a partir de quatro principais aspectos: a relação do processo criativo da peça com as variadas conceituações de comprovisação análise comparativa entre as duas performances realizadas. Por fim, esperamos um resultado de análise que demonstre uma possível relação interativa na qual participam compositor, notação e intérpretes, ocorrendo portanto uma valoração similar entre processos composicionais e improvisatórios. Palavras-chave: Comprovisação. Composição. Improvisação. Análise Musical. Title: Analysis of the piece "à deriva" from the perspective of comprovisation as experimental practice <br /><br />In this paper we will perform an analysis based on the musical piece named "à deriva", in which a creative process that relates to the concept of comprovisation occurred. An analytical methodological framework is proposed based on four main aspects: the relationship of the creative process of the piece with the various concepts of comprovisation (HANNAN, 2006; BHAGWATI, 2013; DUDAS, 2010; MAILMAN, 2013);its formal structure based on the concepts of musical gesture and statement (WISHART, 1996; SULLIVAN, 1984; STEUERNAGEL, 2015); the notational perspective (BHAGWATI, 2013); an comparative analysis based on the two different performances of the piece. Finally, we expect a result of analysis that demonstrates a possible interactive relationship in which composer, notation and performers participate, and thus a similar valuation occurs between compositional and improvisational processes.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="781ec1d21d781b01a0c9eb61b8b53496" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":66265792,"asset_id":46859535,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/66265792/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="46859535"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="46859535"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 46859535; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=46859535]").text(description); $(".js-view-count[data-work-id=46859535]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 46859535; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='46859535']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 46859535, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "781ec1d21d781b01a0c9eb61b8b53496" } } $('.js-work-strip[data-work-id=46859535]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":46859535,"title":"Análise da peça ``à deriva'' sob a perspectiva da comprovisação como prática experimental","translated_title":"","metadata":{"abstract":"Neste artigo realizaremos uma análise a partir da peça \"à deriva\", na qual ocorreu um processo criativo que relaciona-se com o conceito de comprovisação. É proposto um quadro metodológico analítico a partir de quatro principais aspectos: a relação do processo criativo da peça com as variadas conceituações de comprovisação análise comparativa entre as duas performances realizadas. Por fim, esperamos um resultado de análise que demonstre uma possível relação interativa na qual participam compositor, notação e intérpretes, ocorrendo portanto uma valoração similar entre processos composicionais e improvisatórios. Palavras-chave: Comprovisação. Composição. Improvisação. Análise Musical. Title: Analysis of the piece \"à deriva\" from the perspective of comprovisation as experimental practice \n\nIn this paper we will perform an analysis based on the musical piece named \"à deriva\", in which a creative process that relates to the concept of comprovisation occurred. An analytical methodological framework is proposed based on four main aspects: the relationship of the creative process of the piece with the various concepts of comprovisation (HANNAN, 2006; BHAGWATI, 2013; DUDAS, 2010; MAILMAN, 2013);its formal structure based on the concepts of musical gesture and statement (WISHART, 1996; SULLIVAN, 1984; STEUERNAGEL, 2015); the notational perspective (BHAGWATI, 2013); an comparative analysis based on the two different performances of the piece. Finally, we expect a result of analysis that demonstrates a possible interactive relationship in which composer, notation and performers participate, and thus a similar valuation occurs between compositional and improvisational processes.","publication_date":{"day":null,"month":null,"year":2020,"errors":{}},"publication_name":"Anais do EITAM 5 - Encontro Internacional de Teoria e Análise Musical"},"translated_abstract":"Neste artigo realizaremos uma análise a partir da peça \"à deriva\", na qual ocorreu um processo criativo que relaciona-se com o conceito de comprovisação. É proposto um quadro metodológico analítico a partir de quatro principais aspectos: a relação do processo criativo da peça com as variadas conceituações de comprovisação análise comparativa entre as duas performances realizadas. Por fim, esperamos um resultado de análise que demonstre uma possível relação interativa na qual participam compositor, notação e intérpretes, ocorrendo portanto uma valoração similar entre processos composicionais e improvisatórios. Palavras-chave: Comprovisação. Composição. Improvisação. Análise Musical. Title: Analysis of the piece \"à deriva\" from the perspective of comprovisation as experimental practice \n\nIn this paper we will perform an analysis based on the musical piece named \"à deriva\", in which a creative process that relates to the concept of comprovisation occurred. An analytical methodological framework is proposed based on four main aspects: the relationship of the creative process of the piece with the various concepts of comprovisation (HANNAN, 2006; BHAGWATI, 2013; DUDAS, 2010; MAILMAN, 2013);its formal structure based on the concepts of musical gesture and statement (WISHART, 1996; SULLIVAN, 1984; STEUERNAGEL, 2015); the notational perspective (BHAGWATI, 2013); an comparative analysis based on the two different performances of the piece. Finally, we expect a result of analysis that demonstrates a possible interactive relationship in which composer, notation and performers participate, and thus a similar valuation occurs between compositional and improvisational processes.","internal_url":"https://www.academia.edu/46859535/An%C3%A1lise_da_pe%C3%A7a_%C3%A0_deriva_sob_a_perspectiva_da_comprovisa%C3%A7%C3%A3o_como_pr%C3%A1tica_experimental","translated_internal_url":"","created_at":"2021-04-14T07:02:53.812-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":78941794,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":66265792,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/66265792/thumbnails/1.jpg","file_name":"eitam_a_deriva.pdf","download_url":"https://www.academia.edu/attachments/66265792/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Analise_da_peca_a_deriva_sob_a_perspecti.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/66265792/eitam_a_deriva-libre.pdf?1618411773=\u0026response-content-disposition=attachment%3B+filename%3DAnalise_da_peca_a_deriva_sob_a_perspecti.pdf\u0026Expires=1733314779\u0026Signature=OKLEMYNAoR5HCMRgO7AMQhKgkFK8zgathlrY5TyKp26~~E9fDpBI6KB6QmiBQ-61ti3WBBAEWKw5MDm6QgH3SMJNbecoh~DGhQfl4Ul6qGLFGn0rEUlDYVyKD1z8P3iMGi0qw4nOOvXwwYbRYwzmnIl3t2wCMCzfhGP7xtjRl8T9Btbl4t8B~apY49fnJGkbkOzK8n4O6n4mW4Ry2jyjpTZWaAmXcYz4dNVPuGr0LWmRqCqCHqCkHLP~eA~EujV-7l451D3Io40OSxohM4eDKycjqS53QSjLvJZHe-TChDgED6WR1kOo2JJDwr7bJzbTP3jLqmAvoPilMloDq-oiCQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Análise_da_peça_à_deriva_sob_a_perspectiva_da_comprovisação_como_prática_experimental","translated_slug":"","page_count":16,"language":"pt","content_type":"Work","owner":{"id":78941794,"first_name":"Arthur","middle_initials":null,"last_name":"Faraco","page_name":"ArthurFaraco","domain_name":"fflch","created_at":"2018-03-19T11:42:48.350-07:00","display_name":"Arthur Faraco","url":"https://fflch.academia.edu/ArthurFaraco"},"attachments":[{"id":66265792,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/66265792/thumbnails/1.jpg","file_name":"eitam_a_deriva.pdf","download_url":"https://www.academia.edu/attachments/66265792/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Analise_da_peca_a_deriva_sob_a_perspecti.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/66265792/eitam_a_deriva-libre.pdf?1618411773=\u0026response-content-disposition=attachment%3B+filename%3DAnalise_da_peca_a_deriva_sob_a_perspecti.pdf\u0026Expires=1733314779\u0026Signature=OKLEMYNAoR5HCMRgO7AMQhKgkFK8zgathlrY5TyKp26~~E9fDpBI6KB6QmiBQ-61ti3WBBAEWKw5MDm6QgH3SMJNbecoh~DGhQfl4Ul6qGLFGn0rEUlDYVyKD1z8P3iMGi0qw4nOOvXwwYbRYwzmnIl3t2wCMCzfhGP7xtjRl8T9Btbl4t8B~apY49fnJGkbkOzK8n4O6n4mW4Ry2jyjpTZWaAmXcYz4dNVPuGr0LWmRqCqCHqCkHLP~eA~EujV-7l451D3Io40OSxohM4eDKycjqS53QSjLvJZHe-TChDgED6WR1kOo2JJDwr7bJzbTP3jLqmAvoPilMloDq-oiCQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="46859534"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/46859534/Mystery_and_Manners_comprovisa%C3%A7%C3%A3o_localidade_e_cosmopolitismo"><img alt="Research paper thumbnail of Mystery and Manners: comprovisação, localidade e cosmopolitismo" class="work-thumbnail" src="https://attachments.academia-assets.com/66265794/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/46859534/Mystery_and_Manners_comprovisa%C3%A7%C3%A3o_localidade_e_cosmopolitismo">Mystery and Manners: comprovisação, localidade e cosmopolitismo</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Resumo: Este artigo tem como objetivo demonstrar como o álbum Mystery and Manners, do compositor ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Resumo: Este artigo tem como objetivo demonstrar como o álbum Mystery and Manners, do compositor norte-americano John Rapson, está vinculado à estética da comprovisação, e como possui características que remetem às concepções de idiomatismo (BAILEY, 1993) que refletem na produção de uma fantasia de localidade (MASSEY, 1993), pelo viés de uma música cosmopolita (STOKES, 2007). Para tal objetivo, serão realizadas análises sobre as teorias vinculadas à comprovisação, e como a perspectiva notacional de Bhagwati (2013) torna-se uma ferramenta analítica de valor para compreender obras contemporâneas inseridas em tal estética.<br /><br /> Abstract: This paper aims to demonstrate how the album Mystery and Manners, by north american composer John Rapson, is linked to the aesthetics of comprovisation, and how it has characteristics that refer to the conceptions of idiomacity (BAILEY, 1993) that reflects on the production of a fantasy of locality (MASSEY, 1993), by the bias of cosmopolitan music (STOKES, 2007). For this purpose, analyzes will be carried out on the theories related to comprovisation, and how the notational perspective of Bhagwati (2013) becomes an analytical tool of value to understand contemporary works inserted in such aesthetics O termo comprovisação é recorrente em duas vertentes: uma primeira relativa à descrição de práticas musicais contemporâneas que envolvem elementos de dois processos criativos que por muito foram considerados distintos, opostos: a composição e a improvisação. Apesar de a improvisação ser recorrente em todo o processo histórico musical (FERAND, 1961), ela é mascarada da historiografia e da musicologia tradicional (NETTL; RUSSELL, 1998), devido às metodologias aplicadas por tais áreas que focam no produto, no documento, ou seja, na composição e os processos vinculados. A partir da segunda metade do século XX, da concepção de obra aberta (ECO, 2005) e da estética da indeterminação (CANONNE, 2016), que envolvem conceitos como aleatoriedade (vinculada a música de Pierre Boulez), indeterminação (de John Cage) e música intuitiva (de Karlheinz Stockhausen), os processos composicionais valem-se de elementos estocásticos que aproximam-se da improvisação. 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Para tal objetivo, serão realizadas análises sobre as teorias vinculadas à comprovisação, e como a perspectiva notacional de Bhagwati (2013) torna-se uma ferramenta analítica de valor para compreender obras contemporâneas inseridas em tal estética.\n\n Abstract: This paper aims to demonstrate how the album Mystery and Manners, by north american composer John Rapson, is linked to the aesthetics of comprovisation, and how it has characteristics that refer to the conceptions of idiomacity (BAILEY, 1993) that reflects on the production of a fantasy of locality (MASSEY, 1993), by the bias of cosmopolitan music (STOKES, 2007). For this purpose, analyzes will be carried out on the theories related to comprovisation, and how the notational perspective of Bhagwati (2013) becomes an analytical tool of value to understand contemporary works inserted in such aesthetics O termo comprovisação é recorrente em duas vertentes: uma primeira relativa à descrição de práticas musicais contemporâneas que envolvem elementos de dois processos criativos que por muito foram considerados distintos, opostos: a composição e a improvisação. Apesar de a improvisação ser recorrente em todo o processo histórico musical (FERAND, 1961), ela é mascarada da historiografia e da musicologia tradicional (NETTL; RUSSELL, 1998), devido às metodologias aplicadas por tais áreas que focam no produto, no documento, ou seja, na composição e os processos vinculados. A partir da segunda metade do século XX, da concepção de obra aberta (ECO, 2005) e da estética da indeterminação (CANONNE, 2016), que envolvem conceitos como aleatoriedade (vinculada a música de Pierre Boulez), indeterminação (de John Cage) e música intuitiva (de Karlheinz Stockhausen), os processos composicionais valem-se de elementos estocásticos que aproximam-se da improvisação. Surge"},"translated_abstract":"Resumo: Este artigo tem como objetivo demonstrar como o álbum Mystery and Manners, do compositor norte-americano John Rapson, está vinculado à estética da comprovisação, e como possui características que remetem às concepções de idiomatismo (BAILEY, 1993) que refletem na produção de uma fantasia de localidade (MASSEY, 1993), pelo viés de uma música cosmopolita (STOKES, 2007). Para tal objetivo, serão realizadas análises sobre as teorias vinculadas à comprovisação, e como a perspectiva notacional de Bhagwati (2013) torna-se uma ferramenta analítica de valor para compreender obras contemporâneas inseridas em tal estética.\n\n Abstract: This paper aims to demonstrate how the album Mystery and Manners, by north american composer John Rapson, is linked to the aesthetics of comprovisation, and how it has characteristics that refer to the conceptions of idiomacity (BAILEY, 1993) that reflects on the production of a fantasy of locality (MASSEY, 1993), by the bias of cosmopolitan music (STOKES, 2007). For this purpose, analyzes will be carried out on the theories related to comprovisation, and how the notational perspective of Bhagwati (2013) becomes an analytical tool of value to understand contemporary works inserted in such aesthetics O termo comprovisação é recorrente em duas vertentes: uma primeira relativa à descrição de práticas musicais contemporâneas que envolvem elementos de dois processos criativos que por muito foram considerados distintos, opostos: a composição e a improvisação. Apesar de a improvisação ser recorrente em todo o processo histórico musical (FERAND, 1961), ela é mascarada da historiografia e da musicologia tradicional (NETTL; RUSSELL, 1998), devido às metodologias aplicadas por tais áreas que focam no produto, no documento, ou seja, na composição e os processos vinculados. A partir da segunda metade do século XX, da concepção de obra aberta (ECO, 2005) e da estética da indeterminação (CANONNE, 2016), que envolvem conceitos como aleatoriedade (vinculada a música de Pierre Boulez), indeterminação (de John Cage) e música intuitiva (de Karlheinz Stockhausen), os processos composicionais valem-se de elementos estocásticos que aproximam-se da improvisação. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="46859533"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/46859533/Aliquid_Stat_Pro_Aliquo_cinco_composi%C3%A7%C3%B5es_com_nota%C3%A7%C3%A3o_textual_para_instrumenta%C3%A7%C3%A3o_livre_cria%C3%A7%C3%A3o_e_an%C3%A1lise_de_composi%C3%A7%C3%B5es_com_aberturas_%C3%A0_improvisa%C3%A7%C3%A3o"><img alt="Research paper thumbnail of Aliquid Stat Pro Aliquo: cinco composições com notação textual para instrumentação livre: criação e análise de composições com aberturas à improvisação" class="work-thumbnail" src="https://attachments.academia-assets.com/66265790/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/46859533/Aliquid_Stat_Pro_Aliquo_cinco_composi%C3%A7%C3%B5es_com_nota%C3%A7%C3%A3o_textual_para_instrumenta%C3%A7%C3%A3o_livre_cria%C3%A7%C3%A3o_e_an%C3%A1lise_de_composi%C3%A7%C3%B5es_com_aberturas_%C3%A0_improvisa%C3%A7%C3%A3o">Aliquid Stat Pro Aliquo: cinco composições com notação textual para instrumentação livre: criação e análise de composições com aberturas à improvisação</a></div><div class="wp-workCard_item"><span>Anais do II Congresso Nacional de Música e Matemática</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Neste trabalho foram realizadas análises sobre ideias da criação dentro da música nova, especific...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Neste trabalho foram realizadas análises sobre ideias da criação dentro da música nova, especificamente no campo de composições musicais que possuem uma abertura intrínseca à improvisação musical. Consiste em analisar peças com notações que se adequam a tal abertura e, a partir da análise destas, trabalhar o próprio processo criativo, compondo um conjunto de peas com tal característica. Também será analisada a peça Composition no. 245 do compositor Anthony Braxton, a fim de entender o processo criativo do autor e como funciona a sua notação.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ef82776dcdb9e7cc745c7596ad915cc0" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":66265790,"asset_id":46859533,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/66265790/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="46859533"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="46859533"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 46859533; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=46859533]").text(description); $(".js-view-count[data-work-id=46859533]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 46859533; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='46859533']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 46859533, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "ef82776dcdb9e7cc745c7596ad915cc0" } } $('.js-work-strip[data-work-id=46859533]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":46859533,"title":"Aliquid Stat Pro Aliquo: cinco composições com notação textual para instrumentação livre: criação e análise de composições com aberturas à improvisação","translated_title":"","metadata":{"abstract":"Neste trabalho foram realizadas análises sobre ideias da criação dentro da música nova, especificamente no campo de composições musicais que possuem uma abertura intrínseca à improvisação musical. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="11078951" id="mastersdissertation"><div class="js-work-strip profile--work_container" data-work-id="46860126"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/46860126/Comprovisa%C3%A7%C3%A3o_Entre_a_Composi%C3%A7%C3%A3o_e_a_Improvisa%C3%A7%C3%A3o_na_Emerg%C3%AAncia_de_Pr%C3%A1ticas_Musicais_Contempor%C3%A2neas"><img alt="Research paper thumbnail of Comprovisação: Entre a Composição e a Improvisação na Emergência de Práticas Musicais Contemporâneas" class="work-thumbnail" src="https://attachments.academia-assets.com/66265950/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/46860126/Comprovisa%C3%A7%C3%A3o_Entre_a_Composi%C3%A7%C3%A3o_e_a_Improvisa%C3%A7%C3%A3o_na_Emerg%C3%AAncia_de_Pr%C3%A1ticas_Musicais_Contempor%C3%A2neas">Comprovisação: Entre a Composição e a Improvisação na Emergência de Práticas Musicais Contemporâneas</a></div><div class="wp-workCard_item"><span>Dissertação de Mestrado - UNICAMP</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Esta pesquisa visa delimitar e ampliar possíveis noções para o que é denominado como comprovisaçã...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Esta pesquisa visa delimitar e ampliar possíveis noções para o que é denominado como comprovisação. O termo, recente na literatura, não possui um consenso, visto que é utilizado a fim de descrever processos criativos que se valem de processos composicionais e improvisatórios. Para delimitarmos estas possíveis definições, realizamos uma revisão histórica das práticas musicais contemporâneas, iniciando-se a partir do século XX com as derivações dos processos criativos a partir das vanguardas artísticas. Nesta revisão, percebemos que descrições de processos criativos- indeterminação, aleatoriedade, música intuitiva, improvisação livre, música experimental, jazz, entre outros - possuem diferenciações que geram debates sobre as relações composição-improvisação e que podem ser consideradas como base para uma compreensão do termo aqui estudado. Em uma revisão bibliográfica sobre as teorias que envolvem a comprovisação, contemplamos<br />duas vertentes: uma que caracteriza a comprovisação como processo criativo que vincula processos interativos mediados por sistemas computacionais ou tecnologias de áudio, e uma segunda que caracteriza comprovisação como um termo abrangente de práticas musicais contemporâneas que envolvem relações composição-improvisação. A partir destas, inferimos nossa visão sobre comprovisação a partir de elementos da performance, ocorrendo então uma interligação do que nomeamos como fluxos da interpretação e da improvisação. Estes fluxos são caracterizados a partir de uma compreensão da música como linguagem recursiva, o que<br />nos dá base para os diferenciarmos e demonstrar como a comprovisação torna-se um “jogo”, no<br />qual o ouvinte não diferencia os elementos composicionais e improvisatórios. Para testarmos tais acepções, realizamos uma análise da peça Nesta Rua Onde Mora Coltrane, do compositor<br />estadunidense John Rapson, que consideramos como representativa de nossa visão sobre comprovisação. Além disto, realizamos um processo criativo experimental a fim de testarmos a hipótese levantada, resultando em quatro peças musicais. Por fim, concluímos que a comprovisação pode ser considerada uma prática musical com características próprias inseridas no contexto da música atual.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="c8f4b65dd6da1c5dc03bf96b06510fe4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":66265950,"asset_id":46860126,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/66265950/download_file?st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&st=MTczMzMxMTE3OSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="46860126"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="46860126"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 46860126; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=46860126]").text(description); $(".js-view-count[data-work-id=46860126]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 46860126; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='46860126']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 46860126, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "c8f4b65dd6da1c5dc03bf96b06510fe4" } } $('.js-work-strip[data-work-id=46860126]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":46860126,"title":"Comprovisação: Entre a Composição e a Improvisação na Emergência de Práticas Musicais Contemporâneas","translated_title":"","metadata":{"abstract":"Esta pesquisa visa delimitar e ampliar possíveis noções para o que é denominado como comprovisação. O termo, recente na literatura, não possui um consenso, visto que é utilizado a fim de descrever processos criativos que se valem de processos composicionais e improvisatórios. Para delimitarmos estas possíveis definições, realizamos uma revisão histórica das práticas musicais contemporâneas, iniciando-se a partir do século XX com as derivações dos processos criativos a partir das vanguardas artísticas. Nesta revisão, percebemos que descrições de processos criativos- indeterminação, aleatoriedade, música intuitiva, improvisação livre, música experimental, jazz, entre outros - possuem diferenciações que geram debates sobre as relações composição-improvisação e que podem ser consideradas como base para uma compreensão do termo aqui estudado. Em uma revisão bibliográfica sobre as teorias que envolvem a comprovisação, contemplamos\nduas vertentes: uma que caracteriza a comprovisação como processo criativo que vincula processos interativos mediados por sistemas computacionais ou tecnologias de áudio, e uma segunda que caracteriza comprovisação como um termo abrangente de práticas musicais contemporâneas que envolvem relações composição-improvisação. A partir destas, inferimos nossa visão sobre comprovisação a partir de elementos da performance, ocorrendo então uma interligação do que nomeamos como fluxos da interpretação e da improvisação. Estes fluxos são caracterizados a partir de uma compreensão da música como linguagem recursiva, o que\nnos dá base para os diferenciarmos e demonstrar como a comprovisação torna-se um “jogo”, no\nqual o ouvinte não diferencia os elementos composicionais e improvisatórios. Para testarmos tais acepções, realizamos uma análise da peça Nesta Rua Onde Mora Coltrane, do compositor\nestadunidense John Rapson, que consideramos como representativa de nossa visão sobre comprovisação. Além disto, realizamos um processo criativo experimental a fim de testarmos a hipótese levantada, resultando em quatro peças musicais. Por fim, concluímos que a comprovisação pode ser considerada uma prática musical com características próprias inseridas no contexto da música atual.","publication_date":{"day":null,"month":null,"year":2020,"errors":{}},"publication_name":"Dissertação de Mestrado - UNICAMP"},"translated_abstract":"Esta pesquisa visa delimitar e ampliar possíveis noções para o que é denominado como comprovisação. O termo, recente na literatura, não possui um consenso, visto que é utilizado a fim de descrever processos criativos que se valem de processos composicionais e improvisatórios. Para delimitarmos estas possíveis definições, realizamos uma revisão histórica das práticas musicais contemporâneas, iniciando-se a partir do século XX com as derivações dos processos criativos a partir das vanguardas artísticas. Nesta revisão, percebemos que descrições de processos criativos- indeterminação, aleatoriedade, música intuitiva, improvisação livre, música experimental, jazz, entre outros - possuem diferenciações que geram debates sobre as relações composição-improvisação e que podem ser consideradas como base para uma compreensão do termo aqui estudado. Em uma revisão bibliográfica sobre as teorias que envolvem a comprovisação, contemplamos\nduas vertentes: uma que caracteriza a comprovisação como processo criativo que vincula processos interativos mediados por sistemas computacionais ou tecnologias de áudio, e uma segunda que caracteriza comprovisação como um termo abrangente de práticas musicais contemporâneas que envolvem relações composição-improvisação. A partir destas, inferimos nossa visão sobre comprovisação a partir de elementos da performance, ocorrendo então uma interligação do que nomeamos como fluxos da interpretação e da improvisação. Estes fluxos são caracterizados a partir de uma compreensão da música como linguagem recursiva, o que\nnos dá base para os diferenciarmos e demonstrar como a comprovisação torna-se um “jogo”, no\nqual o ouvinte não diferencia os elementos composicionais e improvisatórios. Para testarmos tais acepções, realizamos uma análise da peça Nesta Rua Onde Mora Coltrane, do compositor\nestadunidense John Rapson, que consideramos como representativa de nossa visão sobre comprovisação. Além disto, realizamos um processo criativo experimental a fim de testarmos a hipótese levantada, resultando em quatro peças musicais. 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