A violoncelista cantora: uma investigação autoetnográfica sobre a prática de cantar e tocar simultaneamente
This autoethnographic research aims to study the practice of singing and playing the cello simultaneously, with the main objective of investigating the implications of this practice for the cellist. For this, it was necessary to divide the research into two stages. In the first stage, the process an...
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| Tipo de recurso: | tesis de maestría |
| Estado: | Versión publicada |
| Fecha de publicación: | 2022 |
| País: | Brasil |
| Institución: | Universidade Federal do Rio Grande do Norte (UFRN) |
| Repositorio: | Repositório Institucional da UFRN |
| Idioma: | portugués |
| OAI Identifier: | oai:repositorio.ufrn.br:123456789/52112 |
| Acceso en línea: | https://repositorio.ufrn.br/handle/123456789/52112 |
| Access Level: | acceso abierto |
| Palabra clave: | Violoncelo e canto - instrução e estudo Cantar e tocar simultâneo - prática musical O canto e a prática instrumental CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::MUSICA |
| Sumario: | This autoethnographic research aims to study the practice of singing and playing the cello simultaneously, with the main objective of investigating the implications of this practice for the cellist. For this, it was necessary to divide the research into two stages. In the first stage, the process and study strategies adopted were presented, and, in the second stage, analysis of the practice and observations of its implications for instrumental practice were carried out. The methodological procedures include interviews with Lui Coimbra, Marcelo Vieira, Natasha Farny and Kely Pinheiro, cellists who have experience in singing and playing simultaneously. In addition, two pieces were selected and studied, being the first Colóquio by Lindemberg Cardoso and the second O Último Romântico by Lulu Santos. We hope this research will facilitate and encourage cellists' reflection and contact with this type of work. |
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