Critérios de elaboração de programas e seus reflexos na preparação de recitais de canto

• Ano de defesa: 2015
• Autor(a) principal: Freccia, Gustavo Weiss
• Orientador(a): Ray, Sonia
• Banca de defesa: Ray, Sonia, Alvares, Marilia, Borghoff, Margarida, Cardoso, Antonio Marcos Souza
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Goiás
• Programa de Pós-Graduação: Programa de Pós-graduação em Musica (EMAC)
• Departamento: Escola de Música e Artes Cênicas - EMAC (RG)
• País: Brasil
• Palavras-chave em Português: Elaboração de recitais; Repertório de canto; Preparação para a performance; Ansiedade na performance
• Palavras-chave em Inglês: Program building; Singing repertoire; Performance preparation; Performance anxiety
• Área do conhecimento CNPq: MUSICA::CANTO
• Link de acesso: http://repositorio.bc.ufg.br/tede/handle/tede/4710

This work discusses the problem of performance preparation focusing on the repertoire choice for a voice recital and also analyses how the pieces selection and their sequence affect the interpreter during the recital preparation as well as the possible effects of such selection on performance. This work is divided in two parts (A and B): part A being ARTISTIC PRODUCTION, composed by two recitals with a diverse repertoire which were publicly presented and judged by a jury, the second one with repertoire related with the research; and part B being SCIENTIFIC PRODUCTION, composed by a scientific article publishable in the parameters of research in music. The literature on performance preparation points to a certain tradition of organizing the pieces sequence in a chronological way, usually including pieces which are representative of certain periods of Western music History, often focusing on the 18th and 19th century and the first half of the 20th century also. However, such way of organizing the pieces sequence is not always the most organic one for interpreters. Therefore, it is important to investigate how adopting flexible and general criteria (for the recital program structuring) and how applying study strategies might contribute for an optimized artistic performance. We take into account the possibility that a singer can, when performing, be affected by such things as anxiety triggered by an improper pieces sequence selection considering the singer‟s voice and the occasion. Thus, such factors, too, play a major role in the research. This hypothesis is investigated through a review of the performance preparation literature and performance psychology as well as by a survey interviewing singers and going through recital programs (the singers interviewed were music faculty teachers). Finally, the research is concluded that applying such strategies to pieces sequence and selection in singing program repertoire (as part of a performance preparation) brings more satisfactory results for interpreters.