The environment of musical improvisation and time

Authors

  • Rogério Luiz Moraes Costa University of São Paulo

DOI:

https://doi.org/10.35699/2317-6377.2002.56087

Keywords:

time, memory, listening, free improvisation, idiomatic improvisation, environment

Abstract

In this article, we strive to reflect about the questions related to time in the context of musical improvisation. How do the relationships and interactions occur between the musicians, between them and their instruments, and between the materials and procedures in the context of real-time practice? How are the issues related to the perception of the past, present, and future outlined in this environment? What is the role of memory in performances? How is time configured in the flow of the performance: as smooth time, unmeasured, or as striated, pulsed, and metrified time according to Pierre Boulez's definition? Or are we within the realm of a multiple, non-linear time, full of simultaneities, as per Olivier Messiaen’s ideas? These and other questions point to a type of improvisation that takes place “out of time” where the notion of organization is replaced by the notion of “resonance”.

Author Biography

  • Rogério Luiz Moraes Costa, University of São Paulo

    is a professor of theoretical subjects in the Department of Music at ECA-USP, composer, and saxophonist. He holds a Bachelor's degree and a Master's degree – under the supervision of Prof. Dr. Marco Antônio da Silva Ramos – in the Department of Music at ECA-USP. He is currently pursuing a PhD in the Department of Communication and Semiotics at PUC-SP, under the supervision of Prof. Dr. Sílvio Ferraz. He was a FAPESP scholarship holder until July 2002, when, through a public competition, he became a professor of theoretical subjects in the Department of Music at ECA-USP. In his doctoral studies, he seeks to deepen certain relevant issues for contemporary music, originating from a reflection on improvisation practices.

References

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GARDNER, Howard. Estruturas da mente, a teoria das inteligências múltiplas. Trad. Sandra Costa. Porto Alegre: Artes Médicas Sul, 1994.

FERNEYHOUGH, Brian. Forme, figure, style une évaluation intermédiaire. Paris: Contrechamps, n.3, L'âge d'homme, 1984.

FERRAZ, Silvio. Música e Repetição: a diferença na composição contemporânea. São Paulo: Educ, 1998.

______. Semiótica Peirceana e a música: mais uma aproximação. Opus: Revista da Associação Nacional de Pesquisa e Pós-Graduação em Música, v. IV, n.4, p.64-71, 1997. SANTOS, Fátima Carneiro. Por uma escuta nômade: a música dos sons da rua. São Paulo: EDUC, 2002.

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Published

2002-01-01

Issue

No. 05 e 06 (2002): General Topics

Section

Articles in Portuguese/Spanish

License

Copyright (c) 2002 Per Musi

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

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

How to Cite

“The Environment of Musical Improvisation and Time”. 2002. Per Musi, no. 05 e 06 (January): 5-13. https://doi.org/10.35699/2317-6377.2002.56087.