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Advisor(s)
Abstract(s)
O presente projeto artístico pretende demonstrar que os estilos de composição clássico e
jazz se complementam mesmo que o tipo de ensino e as suas próprias características sejam tão
díspares levando a que os músicos soem e tecnicamente desenvolvam competências também
díspares.
De modo a perceber de uma forma mais concreta quais as principais diferenças entre estes
dois estilos no que diz respeito à sonoridade e à técnica, que são os aspetos que comprovam a
singularidade da trompete e ajudam a identificar e caracterizar a área de especialização de cada
intérprete, realizou-se um estudo comparativo entre trompetistas de formação clássica e de
formação jazzística. Neste estudo constituído por 30 participantes, dos quais 15 têm formação
clássica e os outros 15 têm formação jazzística, aplicou-se um questionário que pretendia
avaliar o som e a técnica dos trompetistas clássicos e de jazz na execução de dois excertos. Os
resultados revelaram que os trompetistas clássicos exibem melhor som que os trompetistas de
jazz, do mesmo modo que manifestam melhor técnica.
Tendo em conta os resultados obtidos neste estudo que ajudaram a perceber onde residem
as principais diferenças entre o instrumentista clássico e de jazz pretendo, através da
interpretação o mais rigorosa possível de cada uma das três peças: Concerto 2 pour Trompette
et Orchestre, de Andre Jolivet, Elegy, de Richard Bennett, e Khamsin - Concerto for Trompete
Piccolo, Fluegelhorn and Big Band, de Kreiger, demonstrar de que modo a aprendizagem da
técnica inerente aos dois estilos auxilia numa melhor e mais sólida interpretação quer seja de
música erudita ou popular.
ABSTRACT - This artistic project aims to demonstrate that classical and jazz compositional styles complement each other even if the pedagogical focus (jazz or classical) of the performer results in disparate performing characteristics such as sound and technique. In order to both establish and demonstrate differences between classical and jazz performing/pedagogical styles specific to sound and technique, I devised a study that compared the sound and general technique of classically trained trumpeters with jazz trained trumpeters. The study consisted of 30 trumpet players; 15 classically trained and 15 trained in jazz, being recorded performing the same musical excerpts. Using the recordings, I created a questionnaire whereby respondents would evaluate the performances based on sound and technical ability. The results revealed that classically trained trumpeters were perceived to have better sound and better technique than their jazz trained counterparts. Utilizing information obtained from this study, I have determined several different characteristics between classical and jazz trumpeters. I intend to use this information, as well as the most rigorous possible interpretation of each of three works: Concerto 2 pour Trompette et Orchestre, by Andre Jolivet, Elegy, by Richard Bennett, and Khamsin - Concerto for Trompete Piccolo, Fluegelhorn and Big Band, by Kreiger, to demonstrate that learning and using characteristics and training of both styles helps to create a more convincing and successful interpretation of both musical styles.
ABSTRACT - This artistic project aims to demonstrate that classical and jazz compositional styles complement each other even if the pedagogical focus (jazz or classical) of the performer results in disparate performing characteristics such as sound and technique. In order to both establish and demonstrate differences between classical and jazz performing/pedagogical styles specific to sound and technique, I devised a study that compared the sound and general technique of classically trained trumpeters with jazz trained trumpeters. The study consisted of 30 trumpet players; 15 classically trained and 15 trained in jazz, being recorded performing the same musical excerpts. Using the recordings, I created a questionnaire whereby respondents would evaluate the performances based on sound and technical ability. The results revealed that classically trained trumpeters were perceived to have better sound and better technique than their jazz trained counterparts. Utilizing information obtained from this study, I have determined several different characteristics between classical and jazz trumpeters. I intend to use this information, as well as the most rigorous possible interpretation of each of three works: Concerto 2 pour Trompette et Orchestre, by Andre Jolivet, Elegy, by Richard Bennett, and Khamsin - Concerto for Trompete Piccolo, Fluegelhorn and Big Band, by Kreiger, to demonstrate that learning and using characteristics and training of both styles helps to create a more convincing and successful interpretation of both musical styles.
Description
Mestrado em Música
Keywords
Trompete Clássico Jazz Técnica Sonoridade Trumpet Classical Jazz Technique Sound
Citation
Publisher
Instituto Politécnico de Lisboa - Escola Superior de Música de Lisboa