O estado de presença na performance musical: aplicação na experiência do contrabaixista
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Data
2019-03-07
Autores
Bastos, Maria Clara [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Esta pesquisa observa o estado de presença na performance musical. Parte-se da ideia de presença, que advém da filosofia, proposta aqui como sendo um dos aspectos formantes da performance musical, condição na qual o intérprete pode se inserir em menor ou maior grau enquanto atua. Defende-se a tese de que quando a ação de performance musical contém conscientemente o estado de presença, abrem-se novas possibilidades para o contínuo desenvolvimento artístico e humano do músico que executa um instrumento em público (performer musical), abordado aqui particularmente pelo viés do contrabaixista. Face às diferentes gradações possíveis de envolvimento do músico com seus fazeres artísticos, lança-se a ideia de reconexão das características da performance musical com aspectos das performances em outras áreas, no sentido de tentar compreender alguns dos elementos que extravasam as especificidades desta área de atuação e que permitam que se exercite a observação sob esta perspectiva. O performer teria, a partir da conscientização desse processo, a possibilidade de adotar intencionalmente uma postura amalgamada aos efeitos de sua atuação artística e, por consequência, acrescer sua pesquisa e seu desenvolvimento enquanto músico, estendendo-os inclusive para além do momento da performance. Para tanto, o trabalho se organiza em quatro capítulos a saber: O primeiro capítulo apresenta a ideia de presença e estado de presença, bem como aspectos de cognição, neurologia e biologia que dizem respeito à sua manifestação no corpo do artista durante a performance. O segundo capítulo apresenta um relato de experiência que situa a condição de estado de presença na atuação do músico contrabaixista, a partir da experiência na convivência com o compositor Itamar Assumpção e sua obra. O terceiro capítulo analisa a performance de cinco contrabaixistas da atualidade, identificando a ocorrência do estado de presença em suas atuações. O quarto capítulo apresenta práticas musicais que podem auxiliar e induzir o estado de presença, e assim localizá-lo também nos momentos que circundam o instante da performance em si, como sua preparação nos processos de ensino e aprendizagem, e sua posterior avaliação. Considerar o ‘estado de presença’ sob diversas perspectivas permitiu que fosse trazida fundamentação para um dos aspectos mais subjetivos da experiência da performance musical, as sensações individuais vinculadas ao momento de ação. Ao discutir-se o estado corporal e mental, e ilustrar-se sua ocorrência na prática, com exemplos de relato e de performances visualizadas de contrabaixistas escolhidos, mostrou-se também que a performance é acrescida de qualidade quando integrada à noção de ‘estado de presença’.
This research observes the state of presence in musical performance. Starting from the idea of presence, which comes from philosophy, proposed here as one of the formative aspects of musical performance, a condition in which the performer can insert him/herself to a lesser or greater degree while performing. The thesis defended here is that when the action of musical performance consciously contains the state of presence, new possibilities for the continuous artistic and human development of the musician who performs an instrument in public (musical performer) are open, here addressed particularly by the bass player’s bias. Considering the different possible degrees of musician's involvement with his/her artistic practices, the idea of reconnecting musical performance features with aspects of performances in other areas is proposed here, in order to understand some of the elements that go beyond this field’s specificities and allow observation to be exercised from this perspective. From the awareness of this process, the performer could intentionally adopt a posture amalgamated to the outcomes of his/her artistic performance and consequently broaden his/her research and development as a musician, extending them even beyond the moment of performance. Therefore, this work is organized into four chapters namely: The first chapter introduces the concept of presence and state of presence, as well as aspects of cognition, neurology and biology which relate to its manifestation in the body of the artist during the performance. The second chapter presents an experience report which situates the condition of the state of presence in the performance of the double bass player, based on the experience of living with the composer Itamar Assumpção and his work. The third chapter analyzes performances of five contemporary bass players, to identify the occurrence of the state of presence in their performances. The fourth chapter presents musical practices which can aid and induce the state of presence, and thus locate it also in the moments surrounding the instant of the performance itself, as its preparation in teaching and learning processes and its subsequent evaluation. Considering the ‘state of presence’ from various perspectives allowed the foundation to be brought to one of the most subjective aspects of the musical performance experience, the individual sensations linked to the moment of action. As discussing body and mental state, and illustrating its occurrence in practice, with examples of reports and visual performances of the chosen bass players, it was also shown that performance is enhanced by the quality when integrated with the notion of ‘state of presence’.
This research observes the state of presence in musical performance. Starting from the idea of presence, which comes from philosophy, proposed here as one of the formative aspects of musical performance, a condition in which the performer can insert him/herself to a lesser or greater degree while performing. The thesis defended here is that when the action of musical performance consciously contains the state of presence, new possibilities for the continuous artistic and human development of the musician who performs an instrument in public (musical performer) are open, here addressed particularly by the bass player’s bias. Considering the different possible degrees of musician's involvement with his/her artistic practices, the idea of reconnecting musical performance features with aspects of performances in other areas is proposed here, in order to understand some of the elements that go beyond this field’s specificities and allow observation to be exercised from this perspective. From the awareness of this process, the performer could intentionally adopt a posture amalgamated to the outcomes of his/her artistic performance and consequently broaden his/her research and development as a musician, extending them even beyond the moment of performance. Therefore, this work is organized into four chapters namely: The first chapter introduces the concept of presence and state of presence, as well as aspects of cognition, neurology and biology which relate to its manifestation in the body of the artist during the performance. The second chapter presents an experience report which situates the condition of the state of presence in the performance of the double bass player, based on the experience of living with the composer Itamar Assumpção and his work. The third chapter analyzes performances of five contemporary bass players, to identify the occurrence of the state of presence in their performances. The fourth chapter presents musical practices which can aid and induce the state of presence, and thus locate it also in the moments surrounding the instant of the performance itself, as its preparation in teaching and learning processes and its subsequent evaluation. Considering the ‘state of presence’ from various perspectives allowed the foundation to be brought to one of the most subjective aspects of the musical performance experience, the individual sensations linked to the moment of action. As discussing body and mental state, and illustrating its occurrence in practice, with examples of reports and visual performances of the chosen bass players, it was also shown that performance is enhanced by the quality when integrated with the notion of ‘state of presence’.
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Palavras-chave
Itamar Assumpção, Estado de presença, Performance musical, Performance ao contrabaixo, Cognição musical, State of presence, Musical performance, Double bass performance, Musical cognition