The Preparation for Musical Performance by Guitar Quartet from the point of view by Professional Guitarists

Authors

DOI:

https://doi.org/10.35699/2317-6377.2023.45993

Keywords:

Guitar Quartet, Practice Planing, Rehearsal strategies, Chamber Music, Practice Optimization

Abstract

In this article, strategies for chamber music performance by guitar quartets were raised and discussed, considering the point of view Brazilian Professional Guitarists. The study was developed based on authors who deal with musical performance planning and discuss performance preparation techniques and procedures, especially for chamber music. Through a questionnaire applied to guitarists who work and have worked in Brazilian Quartets, we sought to raise rehearsal strategies applied to practice by these groups, through questions about the planning and performance of their rehearsals, techniques and strategies for individual and collective study, availability of time, interpersonal relationships and integrations and musical interpretation, and their interactions. The analysis of the compiled material showed the most used procedures in their practices, and presented guidelines for their optimization, contemplating specificities of the chamber music of the guitar quartet.

Author Biographies

  • Rafael Salgado, Federal University of Mato Grosso do Sul /Santa Catarina State University, Brazil

    Rafael Salgado is a doctoral candidate in Music from UDESC - Santa Catarina State Universit in the creative processes line, Master in Music from UNESP - São Paulo State Universit in the line of musical performance - Chamber Music (2015), Bachelor's degree in Music - Bachelor's  Guitar Degree from the Faculty of Sciences of FITO (2003) and graduation in Full Degree in Music from the Faculty of Sciences of FITO (2004). He is since 2008 currently a technician - musician at the Federal University of Mato Grosso do Sul.

  • Maria Bernardete Castelan Póvoas, State University of Santa Catarina, Brazil

    Born in Criciúma/SC, she holds a PhD in Music from the UFRGS Graduate Program with residency at the University of Iowa (USA). She was guided by Dr. Cristina Capparelli Gerling (Master) and Dr. Celso Loureiro Chaves (Doctorate). His artistic training was guided, in Brazil, by pianists/pedagogues Dulce Machado, Clodomiro Caspari and Dirce Knijnik (Bachelor and Master), Sebastian Benda (Brazil-Switzerland), Evelyne Flaow (France) and René Lecuona (Iowa, USA). She is an Associate Professor at the Department of Music at the Arts Center, Santa Catarina State Universit - UDESC, where she works in the Undergraduate and Postgraduate Courses in Music, Creative Processes subarea, develops Teaching, Research and Extension activities, and participates in commissions and projects, having also exercised administrative functions. As a pianist, she has acted as a soloist and chamber musician, participating in juries and music curators. As a Piano and Chamber Music teacher, she sees her students standing out in the Brazilian scene with awards in competitions and tours. She coordinated events such as Music-Instrumental Exchange Cycle (2001-2008), I National Piano Competition City of Florianópolis (2003) and Symposium on Cognition and Musical Arts (2012). She created and coordinated the PIANO EM FOCO Extension Program, which brings together three projects to carry out courses, seminars, lectures and recitals, in 2008, and which she coordinated until 2017, with interruptions. With Denise Cordeiro, she formed the Piano Duo (1987-2000), performing recitals in several Brazilian states and receiving awards at the Francisco Mignone International Competition for Pianistic Duos (1994). She developed intense work alongside soprano Rute Gebler in various artistic activities, highlighting her performance as a pianist with Estúdio Vozes, from its creation in 1993 until 2009. In 2010 she received the "Franklin Cascaes" Prize for Classical Music. She toured "Piano em Foco" with Luís Cláudio Barros and Rodrigo Warken in cities in Santa Catarina and Paraná (2010); in 2011 with Mauren Frey "Piano Brasileiro" in the cities of Porto and Évora in Portugal and Paris (France). Since 2010, integrating the duo Castelan & Barros with pianist Luís Cláudio Barros, she premiered several works by Brazilian composers and performed in several conferences and recitals on tours in Brazil and abroad. Among the duo's tours, he mentions the "Série Danças" in 2013 in Santa Catarina and, in 2015, "Brasil em Danças" in Portugal in the cities of Porto, Évora and Cascais, in addition to the Recital-Conference at PERFORMA15 in Aveiro. Also in 2015, the Concerto for Piano a Quatro Mãos by Liduíno Pitombeira premiered in Brazil with the UNICAMP Symphony Orchestra conducted by conductor Alessandro Sangiorgi. with a pre-premiere with the UDESC Academic Orchestra conducted by maestro Sérgio Figueiredo. In 2018 the duo performed recitals, masterclasses and conferences in Madrid and Castelo Branco (PT), and Conference/Recital at the III International Contemporary Piano Meeting in Évora (PT). As a researcher, she participates in scientific events with the presentation and publication of interdisciplinary research on Brazilian solo and chamber repertoire, performance, technique and pianistic interpretation with contributions in arguments from areas that deal with human movement. Currently, she is a postdoctoral researcher at INET-md / University of Aveiro, under the guidance of Helena Marinho, researching compositions for piano by Frederico de Freitas (Collection of the University of Aveiro) and technical-pianistic strategy with LabEAMUS and ESSUA (AU).

References

Barros, Luís Cláudio. 2008. “A pesquisa empírica sobre o planejamento da execução instrumental: uma reflexão crítica do sujeito de um estudo de caso.” Porto Alegre, 2008. 265f. Tese (Doutorado em Música: Práticas Interpretativas) – Universidade Federal do Rio Grande do Sul, Porto Alegre.

Chaffin, Roger; Imreh, Gabriela. 1997. “Pulling teeth and torture: Musical memory and piano performance.” In: Thinking and Reasoning. v. 3, p. 315-336. DOI: https://doi.org/10.1080/135467897394310

Davidson, Jane; Ford, Luan. 2003. “An investigation of members’ roles in wind quintets”. Psychology of Music. v 31, nº 1, p. 53-74. DOI: https://doi.org/10.1177/0305735603031001323

Davidson, Jane; Good, James. 2002. “Social and Musical Co-Ordination between Members of a String Quartet: An Exploratory Study.” Psychology of Music. v. 30, p. 186-201. DOI: https://doi.org/10.1177/0305735602302005

Davidson, Jane W.; King, Elaine C. 2004. “Strategies for Essemble Practice.” In: Musical Excellence edited by Aaron Williamon, 105 – 122. New York: Oxford University Press.

Davidson, Jane W.; Williamon, Aaron. 2002. “Exploring co-performimg communication.” Musicae Scientiae. v.1, n.1, p. 53-72. DOI: https://doi.org/10.1177/102986490200600103

Ericsson, K. Anders; Krampe, Ralf Th. 1995. “Deliberate practice and elite musical performance.” In The practice of performance – studies in musical interpretations edited by RINK, John, 84 – 102. Cambridge: Cambridge University Press. DOI: https://doi.org/10.1017/CBO9780511552366.005

Ginsborg, Jane. 2004. “Focus, effort, and enjoyment in chambre music: Rehearsal strategies of successful and “failed” student ensembles.” In International Symposium on Performance Science.

Goodman, Elaine. 2002. “Ensemble Performance”. In Musical Performance: A Guide to Understanding edited by John Rink, 153 – 167. Cambridge: Cambridge University. DOI: https://doi.org/10.1017/CBO9780511811739.012

Hallam, Susan. 1995. “Professional musicians approaches to the learning and interpretation of music.” Psychology of Music. V.23, p. 111-128. DOI: https://doi.org/10.1177/0305735695232001

Jorgensen, Harald. 2004. “Strategies for individual practice.” In Musical Excellence edited by Aaron Wiiliamon, 85 – 104. New York: Oxford University Press.

King, Elaine. 2004. “Collaboration and the study of ensemble rehearsal.” In Proceedings of the 8th International conference on music perception and cognition. Evanston, IL.

King, Elaine. 2006. “The roles of student musicians in quartet rehearsals.” Psychology of Music. V. 34, nº2, p. 262-282. DOI: https://doi.org/10.1177/0305735606061855

Klickstein, Gerald. 2009. “The Musician’s way: A guide to practice, performance, and wellness.” Oxford: University Press.

Kokosaki, Dimitra. 2007. “Understanding the ensemble pianist: a theoretical framework.” Psychology of Music. Society for Education, Music and Psychology Research, vol 35(4): 641‒668. DOI: https://doi.org/10.1177/0305735607077835

Krampe, Ralf. 2002. “Aging, expertise and fine motor movement.” In Neuroscience and Biobehavioral Reviews. V. 26. P. 769–776. DOI: https://doi.org/10.1016/S0149-7634(02)00064-7

Murnighan, J. Keith; Conlon, Donald. 1991. “The dynamics of intense work groups: A study of British string quartets.” Administrative Science Quarterly. V. 36, p. 165–186. DOI: https://doi.org/10.2307/2393352

Ray, Sonia. 2005. “Os conceitos EPM, Potencial e Interferência inseridos numa proposta de mapeamento de Estudos sobre Performance Musical.” Performance Musical e suas Interfaces edited by Sonia Ray, 39-65. Goiania: Vieira/Irokun.

Reid, Stefan. 2002. “Preparing for performance.” In Musical Performance: A Guide to Understanding edited by John Rink, 102 - 112. Cambridge: Cambridge University. DOI: https://doi.org/10.1017/CBO9780511811739.008

Rink, John. 1995. “The practice of performance – studies in musical interpretation.” Cambridge: Cambridge University Press. DOI: https://doi.org/10.1017/CBO9780511552366

Rink, John. 2002. “Performance: A Guide to Understanding.” Cambridge: Cambridge University Press.

Rink, John. 2002. “Analyses and (or?) performance.” In: RINK, John (org.). Musical Performance: A Guide to Understanding edited by John Rink, 35 – 58. Cambridge: Cambridge University Press. DOI: https://doi.org/10.1017/CBO9780511811739.004

Sloboda, John. 2008. “A mente musical: A psicologia cognitiva da música.” Tradução de Beatriz Ilari e Rodolfo Ilari. Londrina: EDUEL.

Williamon, A. 2004. “Musical Excellence – strategies and techniques to enhance performance.” Oxford: Oxford University Press. DOI: https://doi.org/10.1093/acprof:oso/9780198525356.001.0001

Downloads

Published

2023-12-11

Issue

Vol. 24 (2023): General Topics

Section

Articles in Portuguese/Spanish

License

Copyright (c) 2023 Per Musi

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

Licença Creative Commons
Except where otherwise noted, contents on this site are licensed under a  Creative Commons - Atribuição 4.0 Internacional.

How to Cite

“The Preparation for Musical Performance by Guitar Quartet from the Point of View by Professional Guitarists ”. 2023. Per Musi 24 (December): 1-19. https://doi.org/10.35699/2317-6377.2023.45993.

Similar Articles

11-20 of 169

You may also start an advanced similarity search for this article.